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For both my husband and me, there has never been another dancer like Suzanne Farrell. We were fortunate (not being New Yorkers and never knowing in advance, of course, who might be dancing) to see her in many of her great Balanchine roles (which others have already mentioned). Once, we even saw her Sugar Plum Fairy with Peter Martins as her cavalier. We were lucky enough to see them dance together on several other occasions. They were, indeed, the perfect partnership -- onstage. We're just so sorry about the way she was treated later -- offstage. Because her husband Paul Mejia was with Chicago Ballet, we also were privileged to see her dance his "Cinderella" here several times. The ballet itself was not wonderful, but she was. Anyone who partnered her had his hands full because of her spontaneity and unpredictability. We attended a memorable dress rehearsal of "Cinderella" in which a hapless local dancer had to substitute as the prince for the ailing or injured Adam Luders. It was not smooth sailing, to put it mildly. I also had the good fortune to see her in Bejart's "Rite of Spring." I've never been a particular fan of this ballet, no matter who the choreographer might be (although I love the music), but Farrell was electrifying as the sacrificial victim in Bejart's rendition.

Truly incredible technique can be breathtaking. But technique at such an exalted level is rare. For me, technique that is at a somewhat lower level, that is "merely" excellent, is not enough. Too many dancers today seem soul-less to me (although that may in part be due to their having to dance the dreck that often passes for choreography lately). What is also essential to my appreciation of a dancer is his or her recognition that there is an audience out there. It seems to me that acknowledging and seeking to engage the audience have become increasingly rare.

Truly incredible technique can be breathtaking. But technique at such an exalted level is rare. For me, technique that is at a somewhat lower level, that is "merely" excellent, is not enough. Too many dancers today seem soul-less to me (although that may in part be due to their having to dance the dreck that often passes for choreography lately). What is also essential to my appreciation of a dancer is his or her recognition that there is an audience out there. It seems to me that acknowledging and seeking to engage the audience have become increasingly rare.

My husband and I saw Ballet Chicago's Studio Company perform recently with the Skokie Valley Symphony Orchestra (in the northern suburbs of Chicago on Sunday, March 10). We've attended performances by these student dancers before because Daniel Duell is their director. We remember him well from the days when he was dancing and we were visiting New York frequently to attend NYCB performances. We rarely have the chance to see any of the Balanchine repertory in Chicago these days, so we seize any and all opportunities. Mr. Duell was his usual articulate self as, together with the conductor, he introduced each piece in which his young dancers would appear. They performed just the "Vivace" movement from "Concerto Barocco" with enthusiasm. We had seen them do the entire work before with somewhat greater energy and precision. Mr. Duell's "Octet" to the Stravinsky Octet for Wind Instruments was crafted to take advantage of his young dancers' emerging strengths. The real treat for us was the performance of Balanchine's "Tarantella." Samuel Feipel has the technique, the self-assuredness, the balon, and all of the other requisite talents to carry off this demanding and thoroughly delightful role. It was a pleasure to witness.

We always subscribe to the Joffrey in Chicago. Otherwise, we see the occasional single performance of another group here or when we travel. We are subscribers to several other series (opera, theatre, music) but not, alas, more dance (if we lived in Manhattan, it would be a different story).

Thanks for your comments, Giannina. I, too, love Sondheim, in general, and "Into the Woods" in particular. My husband and I will be seeing the production you described in New York in June. Right before that, we'll be in Washington, D.C., for "Sunday in the Park with George" and "Company," two of the Sondheim musicals in the ongoing Kennedy Center tribute. Next, it's "Merrily We Roll Along" at the Shaw Festival in Niagara-on-the-Lake, Ontario, followed by "A Little Night Music" at the Ravinia Festival in the Chicago area. Not to mention "Sweeney Todd" with Bryn Terfel at Lyric Opera of Chicago next fall! It's quite a year for Sondheim fans (and it all began for us here last summer with a magnificent "Sweeney Todd" -- also at Ravinia).

'Sorry that my previous attempt at posting a reply did not work. My husband was a super (that is, an extra) in the Lyric Opera "Carmen" you described. He was one of the two guardians of the gates of the bull ring in Act 4. Unfortunately, what I chiefly remember about the production, other than his participation, was that, when inspiration failed, the director had cast members throw things (oranges, flyers advertising the bullfight, etc.). My first opera, also at Lyric, was "Aida" with Leontyne Price. Yes, it was wonderful. I'm tempted to say that it has all been downhill since then, but that's not really true. Although that performance will always be a highlight of my opera experiences, there have been many more. To cite just a few examples: My husband and I were absolutely delighted with the Met's "Meistersinger" in December, even with Ben Heppner's (we hope temporary) vocal difficulties. Lyric's "Hansel and Gretel" last fall was a bizarre production that, nonetheless, worked beautifully. And, Chicago Opera Theater's recent "Cosi Fan Tutte," set in a bar, was superb, both vocally and visually.

quote: Originally posted by Mme. Hermine: I would love to hear stories of your first operas. The first opera I ever saw I was also in; it was at the lyric opera of chicago in 1973 and was their production of 'carmen'. it starred viorica cortez, the romanian soprano, with james king as don jose and a wonderful, wonderful singer named julian patrick as escamillo. i remember i found it unusual at the time that the director was a woman, luciana novaro. also the lyric didn't stint, they hired antonio gades and his company to dance in the cafe scenes. when i came to new york, the first opera i saw (and also my first performance at the met) was their production of 'don pasquale' with beverly sills and alfredo kraus. it was televised later with the cast i saw. i remember my surprise when the curtain rose on her smoking (or at least pretending to smoke) a cigarette! and read a romantic novel. the part seemed to suit her perfectly and the performance on video is very good.

I was so pleased to read the review of Friday's mixed bill of the Ballet Nacional de Cuba's appearance in Chicago (unfortunately, we had another commitment that night). This afternoon's Coppélia was an absolute delight. The ballet is such an old standard that one might believe there is little life in it anymore, but this performance proved such thinking wrong. The opening set is a valentine. I have also never witnessed so many well-rehearsed mazurka and czardas dancers in a ballet company, and I've seen many (and even performed in one or two). Lorna Feijóo as Swanilda was a phenomenon. We are, alas, in an era when far too many technically talented dancers seem to have no idea that they have an audience, but Ms. Feijóo always remembered us and shared with us her infectious love of dancing. Her superb balance, impeccable line, and incredibly swift yet precise footwork were a joy to behold (yes, indeed, she owes a debt to Balanchine because she never dreamed of putting her heels down in the rapid passages). Her Franz, Oscar Torraldo, was also a delight, with exciting balón, courtly and secure partnering, and elegant footwork. The Act II dancing dolls were more numerous and more convincing than I have seen before. Swanilda's bolero and jig were beautifully executed. The pas de deux in Act III was silken. I am not normally given to glowing reviews. I had not even planned on seeing this group, but my husband insisted (thanks to me, he is now a much more committed balletomane than I am); and, he was so very right to insist. The only negative comments I have are not that extreme. Swanilda's female friends could have been stronger and better rehearsed (their partners, however, were wonderful). In Act III, although both dancers were technically proficient, neither the Dawn nor the Prayer solo moved me, as they certainly can. Doña Alicia Alonso took a bow, to loud ovations and cries of "Alicia" from the many Cubans in the audience. We were so fortunate to see her years ago, when she was in her sixties, performing an incredibly slow yet wondrous White Swan pas de deux. Her company has obviously learned a great deal from her about clarity, balance, and communication with the audience. If this troupe is coming your way, I envy you. I would love to see these superb dancers again. I'm a teacher. If I could be sure I would be able to see the ballet in Havana, I'd be sorely tempted to sign up for one of the pricey new educational tours to Cuba. Meanwhile, I was happy to read that shoes (badly needed from the well-worn look of some of the dancers' footwear) and T-shirts were donated. These talented and exceptionally well-trained dancers clearly need and deserve far more than they get.