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.

Monique Meunier

Yes, thanks.

I was unaware that she'd ever left.

Are you thinking of Miranda Weese as a principal who recently left?

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?

Nutcrackers galore, Cristian, but as far as I know, they are all school-based productions, ergo children, children everywhere.

Personally, I much prefer real children to adults portraying children. Granted, when they are given steps beyond their abilities, they are not enjoyable, but the same applies to adults. Grownups trying to be cute grate on my nerves.

Still, if anyone knows of such a production, please let us know.

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?

Joan Acocella in The New Yorker wrote:

No art, not even opera, is more clad in snobbery than ballet.

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.

Is that any worse than the noisy, unruly adults that are the bane of my existence?

I really worry about what will happen during the Kirov season, as I recall how it was when the Bolshoi was at the Met. I expect I'll hear from a few people about this, but a Russian friend of mine confirmed my perception. I'd asked her about whether Russian audiences tend to be less, uh, attentive, because I was concerned that I might be unfair, and she said, "It's different for Russians. We don't go to the ballet to watch the ballet. We come to socialize AT the ballet."

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.

It pains me to hear that Carrie Lee has left... she has a winning smile, a lively presence and real charm. She also does wonderful footwork -- if you remember, when Martins' premiered "Jazz," (to me, an otherwise forgettable work, embarrassingly trite and ignorant in it's treatment of race) it opened with Carrie Lee alone, center stage, doing a series of intricate steps to a complicated rhythmic sequence. Doing it very, very well!

Several of us were wondering recently if she would return....

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.

Please post your review if you have the opportunity to go!

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.

Carrie Imler definitely made me sit up and pay attention when she performed as PNB's evening at the Works & Process series a few years ago.

I have considered ignoring the whole PNB forum, because practically every post I read here makes me so jealous (and I am not, generally speaking, a jealous person). But the jealousy is mixed with considerable vicarious pleasure.

So to our Sandi/ys and Helene.

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?

Mmm..These are some words, ah? (Ms. Rojo on her partnership with Corella)

"Let's say it was forgettable".

Sounds like bridge burning words.

I wasn't sure where to post this, so please, move it if needed.

I just made up my mind to go and spend a week New York from 12/30 to 01/06 (Yeah, New Year's Eve!), and i found this performance announced at the Lincoln Center Website. I'm dying to see "Jewels" live, because the only reference i have is the elegant approach, (as somebody stated somewhere), of the POB on DVD, and since i'll be seeing the Villela-MCB full lenght version soon, it's going to be interesting to see this more "new yorker" approach, (perhaps closer to Balanchine..?), of the NYCB. What's the general opinion about this version..? I would appreciate a lot any background i could get by the very helpful BT experts...

thank you

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.

Thanks to all for recalling those earlier days, and not letting them dim in our aging memories now.

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.

I've only heard of the second ballet being a curtain raiser. You don't put anything on after Giselle. What could go after?

an idea with two women's stories, Leigh!...

First part: "Giselle'

Intermission.

Second part: "Véronique Doisneau"

some background on this ballet...

It was created by Jérome Bel. The music was played during a very long time and Véronique Doisneau stayed motionless on stage.

How's that cygneblanc...?

Cristian,

You are funny!!!

Cristian - I don't think she joined the company with him. About 10 years ago at some function I met Carreno and was introduced to his wife, but not by name - who knows if it was the same person though she did look like a dancer.

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'm not sure it's technically a variation, but it's certainly a solo: the male solo George Balanchine created for Bart Cook in Square Dance in 1976. Runners up are any of the male variations in Chaconne or Mozartiana, and any part of Oberon's "Scherzo" from A Midsummer Night's Dream.

I'll have to think more about women's variations.

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?)

The finger grouping and line of the hand as it relates to the arm is one of the first things that should be taught in a ballet class. Often this aspect of ballet teaching is over looked. "Bad" hands can not only detract from the beauty of a dancer but deter the dance student from accomplishing many aspects of technique. Holding too much tension in the hands makes it very difficult to feel the body, legs and arms. When any part of the body holds too much tension, other aspects of training will not be accomplished. For the most part, if a dancer succeeds in attaining employment, the "bad" hands situation is not evident.

Different schools of ballet teaching have different finger groupings and hand alignment. What may be beautiful usage of the hands and arms in one method of teaching may be frowned upon in another.

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.

Cristian,

Would you be so kind as to translate. Did I read this correctly that he was only 56 when he died? Were you familiar with his dancing? If so what was he like?

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.