Joseph

Hi! Does anyone have the Boston Ballet telethon that was aired on TV from the year 1992? It featured several excerpts from classical, neo-classical and contemporary ballets and was filmed mostly in the grand studio on the 4th floor. This is not the one that focuses on Steadfast Tin Soldier and not the one that focuses on Sleeping Beauty. It contained the black swan pas de deux featuring Patrick Armand and Trinidad Sevilliano. Does anyone have it? I had it but can not find it and would love to make a copy! Thanks, Joseph

Looks great! I think I may have to purchase and add to summer reading... :-)

Yes, I agree - I think Angel's line looked great. :-)

For me, Gomes stole the show; he is such a mature dancer with amazing acting skills. He really knows how to keep the audience's eye - What an inspiration!!! I also missed some of the Act IV. But it flowed very nicely for a TV version. I really liked Act III when Siegfried finds out that it is not Odette and an explosion turns Rothbart into the creature. Cool! Erica Corjeno - beautiful six!

Thanks everyone! I know in one upcoming version of Swan Lake, due to premier next year, the "stager" has been talking about making the four little swans black as well (in he second act.) So, the cygnets theory would make sense, though all the points listed do... Thanks again!

Why in some Act IV versions of Swan Lake there are both black swans and white swans? I always was confused by this, especially as a child...

Where do you think I could get "Between Fame and Drill?" I also look forward to POB La Sylphide! Thanks for all your great info, EvilNinjaX!

Wait, this is released already!?!? Where did you get it?

I was too, VRS...

Really interesting topic, Marga! I really must say that as a former student of mainly Russian stylized teachers, I would have to say that yes, they feel they have the or rather A correct style. The American teachers who have been trained in Russian pedagogy seem to be more acknowledging and understanding of other ballet techniques / styles that are in existence in today's ballet world. The actual Russian teachers with Russian origins sometimes (in my opinion) do stay sort of "stuck" on their system. Again, like Ari said, it is understandable - genius! The way the coordination relates to musicality, upper body carriage and line are amazing achievements that can make a Russian trained dancer stand out from other technical methodologies. (there are many more benefits to the training...) But, as Ari said, no or very few companies today only perform the works of Petipa or other great choreographers from that era. There always will be some Balanchine, some new work, something far from what a dancer may have trained in. So, it is important for teachers to understand why certain techniques are done they way they are done and what the possible benefits could be from them. I notice sometimes that Russian trained teachers seem to immediately criticize other techniques before possibly thinking about the upside of them. But, it is exceptional to be able to master a general understanding of the Russian method and why they do things the way they do. I feel like Russian training is more of a discipline than a sport; which I always appreciate. What I hate is when people immediately say "Ugh, I hate Vaganova..." This is an act of ignorance and a lack of understanding. Like I said earlier, I can always spot someone (or so I think) who has had some Russian, serious training and it is commendable. I have had teachers who will immediately dismiss these dancers because they feel that the Russian system is "dead," or "outdated..." (yes, these are direct quotes) This kind of attitude is unacceptable in any discipline. I believe all forms / styles of dance technique should be treated with equal respect and a willingfullness to be interested in learning about them. Ok, instead of studying for my exam I am writing... I need to get back to work!!!

There is nowhere we can buy these in America?

I wonder who will take over?!?!

I was in the production of Sleeping Beauty at Boston Ballet in 1993 as a garland boy. Same scenery and costumes...but different staging, etc.

yes, the JVC release is the one that I want back!!!

Wait, is this the recording with the additional, obscure music in the 4th act. The waltz of the swans and the pas de deux, I mean. ???? I used to have it, then someone snagged it and has not returned iT! Would love to get another copy!

Hey EvilNingaX! That would be great. I will certainly pay for all shipping costs. I can email or PM you my mailing address, you can let me know how much it cost to mail and I will get a check back to you immediately. Does this sound ok??? -Joseph

Does anyone know where I can get a copy of the Giselle DVD with Alessandra Ferri from La Scala? If it is not available anymore, does anyone have it???

I love them! I have seen both Stevenson's and Michael Pink's at Ballet Internationale. I think it is a great idea and eye catching for the audience. True, it is more of a scenic spetactle than a focus on choreography, but I think it is a nice change. Michael Pink even called his version a "dance drama" and not a ballet. Stevenson's is much more classicaly oriented though than Pink's. But both were excellent! The music for Pink's was a score created for the production by Philip Feeney while Stevenson's uses music from Franz Listz arranged by John Lanchberry. While both are extrenmely different, they all seemed to really capture the mood and character of the story.

I can ask someone and find out for you (well hopefully...)

What exactly is "Footnotes?"

Story: Onegin (Cranko) Manon (MacMillan) Giselle (Maina Gielguld's Version) Romeo and Juliet (Choo San Goh's Version) La Bayadere (Natalia Makarova's Version) Swan Lake (Anthony Dowel's Version) Neoclassical: Four Temperaments (Balanchine) Serenade (Balanchine) Theme and Variations (Balanchine)

where did you get these dvds???

I had this problem too! I thought it was just like that on videos as well. Well that is annoying...

Is there an english version???

Vladimir Malakhov !