casloan

I chose Paris, too -- for the reasons of incredible artistic collaboration that Paquita cited. But, I would love to have a time machine to enable me to visit them all (especially the time of Bournonville and of Petipa).

Symphony in Three Mew-vements?

I love Balanchine because he has made the music visible through dance. Nonetheless, I also value (often highly) the works of all of the other choreographers listed (not to mention some that could not be listed, due to the arbitrary limitation of 6).

Leigh -- I'm quite sure you're right. I know I've read somewhere (probably in a review) that the dancer controls the strobe. Otherwise, the timing, which is (of course) critical to the illusion, could never be right.

glebb -- Thanks for the clarification. I envy the experience you had. I had seen Robertson dance the role, and I thought that I had just managed to miss Kitten before. I'm really sorry not to have witnessed his debut in the role this week, and I'm sure the audience's reaction was well deserved. He's my favorite Joffrey dancer.

This past week, the first of the Joffrey Ballet's spring programs included Gerald Arpino's "Birthday Variations." Always a frothy diversion, it was beautifully danced by all. I especially appreciated Variation No. 6 with Heather Aagard's astonishing fouettes with their constantly changing spot. David Parsons' ingenious "Caught" is a perennial crowd pleaser, as the strobe-lit solo dancer seems to literally walk on air. Davis Robertson or Calvin Kitten, two of the company's best men, often dance this, but the performance this afternoon featured Taryn Kaschock. I had seen her do the role once before. It's amazing how she manages to make this clearly exhausting piece look easy. The world premiere of Davis Robertson's "Strange Prisoners" had some interesting choreographic ideas, particularly in the opening sequence where three dancers interact as shadows. I look forward to seeing more of his work in the future. The much-anticipated revival, after 26 years, of Robert Joffrey's "Astarte" left me wondering what I had previously seen in it. The dancers, Maia Wilkins and Davis Robertson, are ideally suited to their roles as fire-and-ice goddess and enthralled mortal -- with perfect bodies and the sheer strength and athleticism needed for many moments of the work. But the huge-screen film images of the dancers and the strobe lights no longer worked for me, and there were too many moments when I longed for less posing (no matter how difficult it might be) and more dancing. This week's program, which I'll see next Sunday afternoon, includes Gerald Arpino's delightful "Kettentanz," Antony Tudor's "Jardin aux Lilas" and Agnes de Mille's "Rodeo."

I agree with those who have said they don't boo performers. I simply withhold my applause (or my presence if I know I can't stand a particular performer). However, if a performance is truly dreadful, I certainly have voted with my feet (at a convenient interval, so as not to disturb other audience members who might actually be enjoying themselves). My feeling is that I've already had to pay for my ticket, why should I suffer further? Ed's description of booing those responsible for a terrrible production reminds me of the hideous "Rigoletto" that Lyric Opera of Chicago did a couple of years ago. It was set in a men's club (!) and included, among other horrors, the rape of Gilda onstage -- surrounded by leering club members. We were there on opening night. Chicago audiences are generally tame, but when the production team had the nerve to step on stage at the end of the evening, the entire audience began to boo. Because WFMT-FM broadcasts Lyric opening nights live, thousands of listeners heard this reaction loud and clear.

I agree with those who have said they don't boo performers. I simply withhold my applause (or my presence if I know I can't stand a particular performer). However, if a performance is truly dreadful, I certainly have voted with my feet (at a convenient interval, so as not to disturb other audience members who might actually be enjoying themselves). My feeling is that I've already had to pay for my ticket, why should I suffer further? Ed's description of booing those responsible for a terrrible production reminds me of the hideous "Rigoletto" that Lyric Opera of Chicago did a couple of years ago. It was set in a men's club (!) and included, among other horrors, the rape of Gilda onstage -- surrounded by leering club members. We were there on opening night. Chicago audiences are generally tame, but when the production team had the nerve to step on stage at the end of the evening, the entire audience began to boo. Because WFMT-FM broadcasts Lyric opening nights live, thousands of listeners heard this reaction loud and clear.

My husband and I had the privilege of seeing Helene many times in Chicago and in New York. We will miss her and her classic style, trained as she was by Tallchief.

Gerald Arpino does, too. Not quite whooping and hollering -- but definitely applauding and beyond. I usually agree with him. Claudia

Gerald Arpino does, too. Not quite whooping and hollering -- but definitely applauding and beyond. I usually agree with him. Claudia

Dear Morris Neighbor, I could not have said it better than you did. Thank you. Although I am not routinely a Feld fan at all, "Intermezzo" is a gem. So, too, of course, is Robbins' "Dances at a Gathering." Much as I love both works, the Troc's skewering of these is right on target and utterly hilarious, as you said. What I also adore about them is their wonderful fictional biographies of such artists as "Tamara Boumdiyeva." Claudia

Dear blizzardqueen, Those (many) of us who love Suzanne Farrell as a dancer (and as a teacher and guardian of the Balanchine legacy) envy you for your opportunity to study with her and wish you -- and her -- the best. Please tell us all about your experience! Claudia

Thanks, Farrell Fan. I, too, know and employ the different Italian forms in voicing my approval. Alas, I have not had much use for them in recent years (except, now and then, at the opera). I'm sure "brava" and "bravi" must sound alien or quaint to many, but so be it. Claudia

Thanks, Farrell Fan. I, too, know and employ the different Italian forms in voicing my approval. Alas, I have not had much use for them in recent years (except, now and then, at the opera). I'm sure "brava" and "bravi" must sound alien or quaint to many, but so be it. Claudia

After what you said, pumukau, I can understand your sadness at Simon Dow's departure. I have no experience of his tenure, having been turned off by brochures for the company that had his name and photos everywhere. Why, I wanted to know, was he being featured, instead of his dancers? My husband and I subscribed to Milwaukee Ballet for one season right before Mr. Dow arrived (we live in the Chicago area), and we had seen the occasional performance before that. We are longtime balletomanes and are not afraid of new works, but we did not find much in the repertoire as advertised under his leadership to entice us to return to Milwaukee. From what you've said, it sounds as if we missed some performances that we really would have enjoyed. I hope that a new director who will nurture the company can be found. Claudia

I second what Ed said. My husband and I have been subscribers to Lyric Opera in Chicago for more years than I care to count. We've moved once within the section of the theater where we sit, and we know many people around our "new" seats and our former ones. It's great to be able to discuss the work you're seeing with others who share your love of the art and who have witnessed the same performances that you have.

It's a lovely choice of a hymn, Mel. And a delightful way to say farewell to your rector. You must tell us how it went and was received.

Hello, atm. Thanks for your comments. I agree. We've yet to dance the Gospel (and given our high-church Anglican liturgy, it might not ever happen), but we have danced to a Psalm chanted during Ash Wednesday services, not to mention many Offertory anthems and an occasional postlude or prelude. (Incidentally, in December, I stayed across the street from the church you mentioned and will do so again this summer -- it sounds like I ought to visit it.) Claudia

A former ballet dancer in a regional company, I'm also a long-time member of the Sacred Dance Guild, the national organization for liturgical dancers, and I currently serve on the board of the Lakeshore Chapter (Chicago area, including Indiana and Wisconsin). For the past several years, I have led my own small but determined liturgical dance group at the Episcopal church where I worship. A large and prominent Sunday Chicago Tribune article not long ago highlighted how much liturgical dance there actually is in the Chicago area. I'm sure that this is also true elsewhere, it's just that, unless you're "plugged in" to a sacred dance network, you might not know about it at all (local dancers tend to dance at their own churches and not to advertise that fact). I'd be happy to share whatever I know about liturgical dance with anyone who has an interest or a question. Claudia

Yikes! This is not only not fair, it's simply impossible to vote! While I might choose a performance specifically in order to see an experienced dancer I love (or even one I only know by reputation), there is nothing quite like the thrill of discovery of a new talent. Claudia

Yikes! This is not only not fair, it's simply impossible to vote! While I might choose a performance specifically in order to see an experienced dancer I love (or even one I only know by reputation), there is nothing quite like the thrill of discovery of a new talent. Claudia

From the outside (because I haven't had the opportunity to see the company more than a few times), it seems to me that Villella has done a remarkable job in Miami. A director from the recent past, Basil Thompson, also did a superb job in nurturing dancers and raising the standards of the Milwaukee Ballet, which became an excellent troupe under his care. We attended several performances while he directed them, including the one at which he retired from the company (to join the faculty at the University of Iowa); the affection evident in the onstage tributes was clearly deep and genuine. Ever since the far-too-early death of Robert Joffrey, Gerald Arpino has been a great cheerleader for his company (and I don't mean that in any negative sense). Since they moved to Chicago, we've been to numerous Joffrey events -- at all of which Arpino has spoken about his dancers with great affection and contagious enthusiasm. It's also interesting to watch him as he sits in a side box at Chicago's historic Auditorium Theatre at every Joffrey performance -- he seems totally absorbed as an audience member and responds with heartfelt applause.

A minor correction to my previous post -- Mejia was with Tallchief's Chicago CITY Ballet (we've had so many variations on such names through the years that it's hard to keep them all straight).

Thanks for reminding us about Saratoga, bobsey . My husband and I had the distinction on more than one occasion of being the members who travelled the furthest (that is, from Chicago) to join the NYCB Guild's getaway weekends to Saratoga (when they used to offer this annual outing). It was a wonderful way to see several performances in a sylvan setting. We loved the charm of the town, too. We haven't been there in years. What's it like today (both SPAC and Saratoga Springs itself)?