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Sylvie Rood from SAB is a beautiful dancer. Congratulations to her as well.

About an hour before the performance should be enough time. I have always gotten tickets this way.

Has anyone read the new Einstein bio? I am interested in reading it, but haven't gotten around to it..yet.

The last books I read are not worth mentioning because they were yummy murder mysteries that made a round trip cross country flight bareable...however, what makes me the happiest is Saturday mornings with the NY Times with the Sunday sections. I start off with the real estate section, to make sure my apartment is still worth something, then read Arts, Magazine, Book Review...until I am finished. I lay on the couch with my iced-coffee. My cat is on top of me and my kids are out of the house. This is heaven and this is what I love.

Without question, I would see the Moiseyev

I was not able to see OBT Exposed and was interested in how it went. Tom Gold of NYCB choreographed a piece for the apprentices. Did anybody see it? Pam Tanowitz a modern dancer also choreographed a piece. I am not familiar with her work at all. Any thoughts?

I am sure that PBS with air it again. They usually will repeat a program like that.

I was at one performance when people where boo-ing and walking out. It is not a good ballet but I felt so horrible for Edward Villella. I don't think NYCB has performed it since the 70's.

I can't stand this piece either, nor the music. It makes me want to poke my eyes out with a stick and I agree with you on the music. It is like nails on a chalk board.

The NY Times and The New Yorker both gave scathing reviews of R+J. Alastair MacCauley of The NY Times reviewed it twice and the 2nd review was a little kinder. Regarding the Dance Mag review, which I did not read, I know that Callie Bachman was injured. She did perform the ppd at the SAB student workshop and did a beautiful job, as did her partner.

Calcium Light Night by Peter Martins, one of the first pieces he choreographed

Hi Bart, A lot of beautiful things come together during this ballet. The music, "Speigel im Speigel" by Arvo Part (umlaut over the a) is astonishing. It is very melancholy, beautiful and haunting. The lighting is soft and delicate. The costumes are almost skin color (the ppd couple) so you have a sense that you are seeing the dancer naked and raw and full of emotion. I have interpreted the ballet as couples coming together and breaking up, thus added to the sadness. I have seen this ballet three times. Twice with Wendy and Jock. The final time was Jock's farewell performance, so perhaps I cried more. I couldn't breathe. The third time Wendy danced with Nikolaj Hubbe. "After the Rain" can be considered a leotard ballet, without the hard angles. Wendy's body is very angular. When she danced with Jock, she softened. There are a few other ballets that are ingrained in me with certain dancers: Peter Boal in Square Dance, Edward Villella in Tarantella, the original cost of Dancers at a Gathering, just to name a few. ABT's Swan Lake and Le Corsaire with Angel Corella comes to mind.

The ppd in Wheeldon's "After the Rain", particularly when it was danced with Wendy Whelan and Jock Soto. I cried everytime I saw it. Now that Jock has retired, I cannot envision anyone else doing it. I have seen it with others and it wasn't quite the same.

I will say many kind words about those big-thighed, big-buttocked, superpower turners and jumpers. Give me Angel Corella, Joaquin De Luz, Daniel Ulbricht, Misha (in his day) and all the shorter men of ballet who can jump higher, remain in flight much longer than the long-legged dansuers nobles. I find these men so charismatic, that when they are on stage, I barely notice anyone else.

Thanks for the choreography credit! I'm dancing with Ballet British Columbia in Vancouver now. So far so good, beautiful place to be. Do I know you? Avi Yes you do!!! Thanks for answering my email last month, did you get my response? I was just in Portland, got back last night.

How old is Maria Tallchief?

Peter Boal of PNB and Christopher Stowell of Oregon Ballet Theatre come to mind. They both are very pro-active in getting the local community involved and interested in ballet by making ballet more accessible and understandable.

Is anyone planning on going to OBT Exposed? I'd love to hear about it.

Oh, if they will perform in NYC, what a joy that would be.

I am sorry to see Angela Snow has left ABT. She was a beautiful and graceful dancer.

I am not sure that he isn't eager to have films of him in the public domain, but rather that the Balanchine Trust does not usually make recordings available. They really don't allow the taping of the ballets for anything but properity and teaching the next generation of dancers. If I am wrong about this let me know but I think that is the case.

I liked that program too. Sarah Lane made a very favorable impression with Theme. When I think about it I always come to the same problem. ABT has always been built on big ballets which rely on stars. Stars are imported as needed which reduces the opportunites for the "in house" talent. Murphy and Wiles fill a technical need and are both developing artistically, but without their technical prowess they would not be principals. In terms of ticket sales -- I don't know how excitement is created but that is best left to PR departments. From what I've read both Sarah Lane and Misty Copeland make good stories. I love NYCB for their style and I love ABT for their's. I went to the ABT Balanchine evening in 2004 and walked away feeling that ABT should do what they do best: full length ballets. When I go to a full lenght ballet at NYCB I walk away feeling that they should do what they do best: an evening of rep.

Did anyone see the summer intensive performance? I just read that Orlando's performance was rained out. How disappointing for the dancers

Thank you very much.

I remember him being a very kind young man when he was at SAB, and extraordinaryly talented. I have tried to follow his career as a dancer as well as a choreographer.