printscess

I haven't seen Joaquin DeLuz mentioned in the lineup, nor did I see his name in the gala.

It is a shame that it is the final season. It is a rite of passage that the advanced SAB students look forward to.

Yes, thanks.

Perhaps I am having a serious senior moment. Who is the dancer who left NYCB as a principal, went to ABT as a soloist and then went to Complexions?

You can try A Yorkville Nutcracker done by Frances Patrelle performed at Hunter College. There are kids in it but they are from Ballet Academy East, some older SAB students might be in it, and guest principals. Not Balanchine and I think McKenzie threw in the towel on his. You are missing a wonderful Nutcracker if you do not see NYCB, since you'll be in the city anyway.

Has Yvonne Boree joined the company again or is she a guest artist?

Its hard to imagine an art that all to often features a score of children in the Nutcracker as snobbish. Opera on the television show Frasier indicated snobbery. Does ballet really surpass opera as the most snobbish art? IMO, the Nutcracker is like the circus of ballet. You always know when it is coming to town. Not exactly high art. A crowd pleaser and the time when all ballet companies are assured a money maker.

A few years ago at the Met, my son and I were there to see Angel Corella and Julie Kent in Swan Lake. Sitting right behind us were 2 Russian women, talking during the first act and eating vegetable soup. How annoying. I finally got up and got the head usher who showed them the exit.

Carrie may have taken over that part, but she didn't join the company until 3-4 years after the ballet premiered. I will miss her too, but there was an influx of talented short girls over the last few years that led to fewer and fewer roles for her. And, then she was out at least for the spring season, if not longer. If she was injured, I hope she recovers and finds another place to dance. I find it odd that there has been an influx of short girls into the company. This past June, it seemed like all the boys he took in were over 6' tall.

I read the Macaulay piece with great interest thought how marvelous that Eddie Villela had Patty McBride, Violet Verdy and Suzanne Farrell coach. I also wondered what good old Mr Martins must have thought of the article. It was a slight dis to NYCB. I do not know the dancers (except for a few corp members from SAB) from MCB so I cannot comment, but I can only wonder if the review of MCB will impact on the rehearsals and coaching of NYCB's upcoming performances of Jewels in January. I am planning on getting tickets.

I'm going tonight...! Cristian, The NY Times gave Jewels a glorious, outstanding review. How wonderful that MCB had Violet Verdy, Patty McBride (my fav) and Suzanne Farrell as coaches.

I recommend going to PNB Unleasehed. It is a nice site to read with great visuals.

Carbro, I know what you are talking about. The PNB posts are great, and I am jealous as well. Some of my favorite NYCB dancers have gone west, but I am not surprised. I cannot say enough good things about Peter Boal. To the PNB posters: did the company always have a Q & A session or did Peter start that?

Sounds like bridge burning words.

Hi Cristian, I think it is an error to think of Jewels danced with NYCB closer to Balanchine. IMO, you can't get closer to Balanchine and Jewels than Edward Villela. He originated Rubies. Last year, there was a review of MCB in the NY TImes when they danced at CW Post College on Long Island, and I am paraphrasing but the review stated that if you want to see a true Balanchine company, go and see MCB. That being said, it is always a thrill to see Jewels at The NYS Theater. And oh, what a thrill it was for me to see the original cast in 1967.

I call it musicality. That is when the music and the steps flow from the dancer's body and there is no separation between the two. When you see a dancer and all you see are the steps, IMO you are watching a boring dancer. There are many principals and even stars of ballet, who do not have musicality and all you see are the steps.

Well said... I agree, I can barely remember what I had for breakfast. All kidding aside, in the 60's and 70's my first love of the ballet was NYCB. It took me well into the 90's to begin to appreciate the classical romantic ballets. I am constantly amazed by the members of this site with the recall and knowledge that they posses.

an idea with two women's stories, Leigh!... First part: "Giselle' Intermission. Second part: "Véronique Doisneau" some background on this ballet... How's that cygneblanc...? Cristian, You are funny!!!

His wife no longer dances.

Helene, This was a major undertaking on your part and much appreciated. It is great to have everything in one centralized location. Many thanks.

I love the male variation from Square Dance. I don't remember Bart Cook but I love Peter Boal...who did it for his last performance with NYCB. Boy did I cry like a baby. Stars and Stripes, although not one of my favorite ballets has a fabulous male variation - very high enegry.

A topic from a newcomer in Everything Else Ballet, asked what is the first variation taught, which led me to think, what are your favorite variations, male or female and why? Can be classical or contemporary. (has this topic been on the board before?)

Balanchine was very specific in how dancers held their hands (see remark about Patty McBride) and the turn-out from their hips. SAB produces dancers with a definite style of holding themselves. I onced asked a ballet teacher who was not from SAB or NYCB if he could tell where dancers or students trained by the way they danced. He said the give-away was how they held their hands.

They did an amazing job udating the site.

Hi, printscess...thank you for your interest. Here is some information in english about Mr. Jhones from the web site of Radio Habana Cuba, an official cuban radio station. "One of the most prestigious dancers of the Cuban National Ballet, Fernando Jhones, passed away in Mexico where he worked as director of the Queretaro University Ballet. Jhones, who was a loyal member of the Cuban National Ballet, visited Havana just a few months ago to participate in the International Ballet Teaching Academies Conference held in the Cuban capital every year. The Cuban dancer was internationally acclaimed for his technical and stylistic level. Jhones was known on stages of Europe, the Americas and Asia, where he danced several of the classical leading roles. He also performed in contemporary ballets by Cuban and international choreographers. In recognition of his artistic skills, Jhones received several decorations throughout his brilliant career, including the Varna Diploma of Honor in1976 and the Prize for Artistic Mastery in Moscow in 1977. He was also awarded the Friendship Medal by the Vietnamese government 1978, the Silver Medal by the Lawyers Guild of Puerto Rico 1978, and the Diploma of Honor at the International Ballet Festival of Peru in 1981. Jhones obtained the First Prize in Modern Choreography at the International Ballet Contest held in Tokyo in 1978 for his performance in The Tin Soldier with the ballet Muñecos directed by Alberto Mendez. Graduated from the National Ballet School in 1970, Jhones joined the Cuban National Ballet, became a principal dancer in 1986 and continued his career as a dancer until he retired from the stage in 1991" There's also some more info here: http://www.cubanow.net/global/loader.php?&...2&item=3260 RIP, Fernando Jhones. Thank you for the translation.