HollyFusco

The Sleeping Beauty casting has gone up... here is the PDF link: http://www.paballet.org/_uploaded/pdf/prod...stingroster.pdf

:-)

There are a number of new additions to MCB's 2007-2008 Roster:

Rolando Sarabia: coming as a Principal from Houston Ballet http://www.houstonballet.org/Inside_Housto...olando_Sarabia/

Isanusi Garcia-Rodriguez: coming as a Soloist. Garcia-Rodriguez was prior a Principal with MCB and also danced with Ballet Gamonet and Ballet Sarasota.

link from earlier thread: http://ballettalk.invisionzone.com/index.p...w=&st=&

Zherlin Ndudi is from the Ukraine and joins MCB as a soloist. Here is a thread to the USAIBC: http://www.usaibc.com/2006_medalists.htm

As some others have mentioned: Joseph Phillips from SFB (http://www.sfballet.org/about/company/artistbiography/view.asp?id=12340067)

and Daniel Sarabia of Boston Ballet ( http://www.bostonballet.org/about/company/...ofile421e.html) (brother of Rolando Sarabia)

will also be joining as Soloists.

Toshiro Abbley will be joining as a Corps de Ballet member: here is a USAIBC link: http://www.usaibc.com/2006_medalists.htm

Some have mentioned these next four:

Jennifer Lauren joins MCB's Corps de Ballet after dancing in Alabama Ballet: http://www.alabamaballet.org/dancers.html#lauren

Neil Marshall joins MCB's Corps de Ballet after dancing with Suzanne Farrell Ballet (no link)

Lisa Reneau joins MCB's Corps de Ballet from LA Ballet : http://www.losangelesballet.org/html/company_dancers.htm

Herberth Riascos joins MCB's Corps de Ballet from Ballet Gamonet (no link)

Cindy Huang joins MCB as an apprentice from the School of American Ballet.

as does

Helen Ruiz as some have mentioned.

Christie Scuitturo was promoted from a School Apprentice to a Company Apprentice this year.

And new Student Apprentices are:

Peter Doll

Gabriella Gonzalez

Rebecca King

Elizabeth Smedley

Amir Yogev

Congratulations to all!

I'm surprised there isn't much in these threads about Zurich Ballet. I will be traveling there on Wednesday through Sunday, and plan to see a few of their shows. (They are performing Concerto Barocco and Apollo by Balanchine, Prime Time by Heinz Spoerli (AD) and Kazmir's Colours by Mauro Bigonzetti. I will be sure to write a review upon my return to the states, as well as attempt to gather more information about the company for these threads while I am there.

New York City Ballet performs Alexei Ratmansky's "Middle Duet" on May 15, 16, 19, and 25th.

http://www.newyorker.com/arts/critics/note...tebook_acocella

I thought this was a really interesting topic.

I think this varies with the specific ballet, how it was choreographed, etc.

George Balanchine and Igor Stravinsky had a close-knit relationship with a lot of their works, and I know many of Balanchine's ballet's were made with the help of Stravinsky's compositions. Very collaborative.

I feel like a lot of plotless ballets are set to specific music to portray a theme, (i.e. death, marriage, love, etc.)

There are a lot of choreographers today that first hear a piece of music, and visualize their choreography. It would be difficult, for example, to have a ballet completely choreographed, and then try to add music to it later on.

One great of example of a collaboration on this very topic will be Miami City Ballet's new Twyla Tharp ballet next season, which will be set to music by Elvis Costello. :-)

News on the new building from their website:

http://joffrey.com/news/pr_01.asp

and

http://joffrey.com/news_new_building.asp

The season has been announced and information can be read on the website:

http://joffrey.com/seatix_main.asp

The season:

GISELLE

October 17-28, 2007

THE NUTCRACKER

December 12-30, 2007

ANTONY TUDOR CENTENNIAL

including Lilac Garden, Dark Elegies, and Offenbach in the Underworld

Feb 20 - March 2, 2008

AMERICAN MODERNS

including Paul Taylor's Cloven Kingdom Mehmet Sander’s Inner Space Laura Dean’s Night and Twyla Tharp's Waterbaby Bagatelles

May 14-25, 2008

Touring Schedule:

Berkeley, CA - October 4th-6th, 2007

Zellerbach Hall

PAS DE DEESES

DEUCE COUPE

SOMETIMES IT SNOWS IN APRIL

--------------------------------------------------------------------------------

Saint Louis, MO - December 5th-9th, 2007

Fox Theatre

THE NUTCRACKER

--------------------------------------------------------------------------------

Detroit, MI - March 14th-16th, 2008

Michigan Opera House

GISELLE

Thanks for all the welcome!

Callie! I didn't know you were on here! Awesome! .. hope all is well! <3

I don't know how frappés were performed at the Imperial Ballet School when Balanchine was there, but Vaganova frappés do not use a flexed foot, and in fact, Balanchine style frappés don't, either. Not sure about Legat. If I recall correctly, Suki Schorer wrote that Balanchine did not use the flexed foot at all in class, and that he used it onstage for contrast, to show how much more beautiful the pointed foot is. Not an exhaustive explanation by any means, but hopefully it sheds a little light.

I never claimed to be taught vaganova, I actually came from a Dolly Dinkle schhol, but for all practical purposes, I learned frappe the Russian way: with a flexed foot right above the ankle bone for the purpose of "striking" the floor (I believe it was more about making the noise than the actual movement.)

After I moved to Miami City Ballet School, I was taught to start frappe from sur les coups de pieds for every direction, which, I found, is much more appealing. ;)

It seems rather promising! I'm exited. I wish there were a definite date though

Does anyone have opinions on Phillip Glass?

His music is being used in Glassworks, In the Upper Room, Seven or Eight Pieces, and proobably a few others I am not aware of.

I find his music to be rather monotonous, yet climactic at the same time. Perhaps this is due to the repetitive choices in instruments for a number of his compositions. There always seems to be a token opera singer. Speaking only of the music in In the Upper Room , I was rather exhausted just listening to the music, let alone thinking of the dancers in the nine grueling, non-stop, sections of the 40-minute ballet.

Hello everyone!

Just thought I'd introduce myself! My name is Holly Fusco.. I was a dancer with Miami City Ballet School from 2002-2005.. and dancer with the company for this season. Looking forward to reading and contributing to your posts!

Best,

-Holly

I'm surprised that no one has mentioned Twyla Tharp yet. Her ballet's are becoming extremely universal which is what makes choreographer's works last for decades. Zurich Ballet did Push Comes to Shove a few seasons ago, The Bolshoi did In the Upper Room this season, as well as MCB, ABT, and National Ballet of Canada. In addition, Twyla is choreographing a brand new ballet on Miami City Ballet for next season, with music from Elvis Costello.

I also believe that Trey Mcintyre is a noteworthy candidate for a great choreographer. The Reassuring Effects of Form and Poetry is one of my favorites.

Any thoughts on:

Nacho Duato

Jose Limon

Mark Morris

Rudolph Nureyev

Jerome Robbins

Anthony Tudor

Stanton Welch