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rg

Editorial Advisor
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Everything posted by rg

  1. regarding the Scherzo of WESTERN SYMPHONY, Balanchine himself dropped the movement in 1960 until this death. for the American Music Festival in 1988 it was reinstated, for Kyra NIchols if mem. serves, but it didn't remain reinstated for long. there doesn't appear to be any official statement as to why Balanchine dropped the movement, he wasn't one to much explain his decisions.
  2. the following from NYCB's press dept: <<due to injury, Tiler Peck and Abi Stafford will be both be replaced in their performances this week. (We’re not sure beyond this week.) Tonight, in Pictures at an Exhibition, Lauren King will make her debut (originally scheduled for Thursday, and replacing Stafford) and Indiana Woodward will replace Tiler Peck. In Oltremare, Brittany Pollack will debut, replacing Tiler Peck.>>
  3. There is no Ruby traditionally in The Sleeping Beauty; there is one Peter Martins' staging for NYCB, he changed the names of the pas de quatre of precious stones and metal - originally Gold, Silver, Sapphire and Diamond. NYCB's staging of this quartet uses the names of Gold, Emerald, Ruby and Diamond in a sly reference to the gemstones in Balanchine's 1967 ballet JEWELS. I can't recall which musical variation NYCB's Ruby role uses - maybe Silver? Someone else on this board might know.
  4. many thanks for this information; it's much appreciated.
  5. re: video recordings of LW, there's mention above of a 2004 PBS program with some footage of this ballet, can anyone give further details? in the case of the CBC '61 recording, as mentioned here in the holdings of the JRDD for viewing on the premises, there seems to have been a time when the CBC released the film on DVD, a college library in NYC has a commercial copy but efforts to track down its current availability have come up empty.
  6. perhaps this is the Hodson/Archer "after Balanchine" version?
  7. Farrell's autobiography HOLDING ON TO THE AIR mentions her 1984 performance opposite Nureyev in APOLLO for a Pennsylvania Ballet gala, at the suggestion of Peter Martins, then Pennsylvania Ballet artistic adviser, but makes no mention anywhere on its pages of her dancing w/ RN in Bejart's SACRE. Tamara Hadley and Debra Austin were the other muses.
  8. F.Y.I. - publicity photo dated for publication in '82 with Tomlinson
  9. there's mention above from California of a tv production of this staging: can anyone provide particulars on this?
  10. F.Y.I. casting from KC site, sent by a D.C. friend Mariinsky Balletwith the Kennedy Center Opera House Orchestra “Unrivaled... studded with virtuosic displays”—The Washington PostFor more than two and a half centuries, Mariinsky Ballet has been a crown jewel of the art form, celebrated for its dancers of unmatched skill and majesty. For its annual engagement, the legendary company presents Marius Petipa’s captivating story of bold pirates, passionate maidens, shocking betrayal, and a dramatic shipwreck rescue. The Mariinsky last performed this grand masterpiece at the Kennedy Center more than a decade ago to sold-out crowds, and they return to the Opera House once again with extraordinary technique. Beloved for its breathtaking choreography, virtuosic dancing, and spectacular scenery and costumes, Le Corsaire is an unmissable, swashbuckling adventure. Petipa revived the ballet for the Mariinsky more than a century ago, and the company continues to perform it with exhilarating freshness and tradition.~~~~~~~~~~~~~~~PRINCIPLE CASTING (subject to change)~~~~~~~~~~~~~~~Tue., Apr. 9 at 7:30 p.m.Medora: Viktoria TereshkinaConrad: Timur AskerovGulnara: Renata ShakirovaAli: Kimin KimLankedem: Alexei TimofeyevWed., Apr. 10 at 7:30 p.m.Medora: Ekaterina KondaurovaConrad: Andrei YermakovGulnara: Elena EvseyevaAli: Vladimir ShklyarovLankedem: Philipp StepinThu., Apr. 11 at 7:30 p.m.Medora: Maria KhorevaConrad: Xander ParishGulnara: Maria ShirinkinaAli: Timur AskerovLankedem: Victor CaixetaFri., Apr. 12 at 7:30 p.m.Medora: Viktoria TereshkinaConrad: Konsantin ZverevGulnara: Renata ShakirovaAli: Kimin KimLankedem: Alexei TimofeyevSat., Apr. 13 at 1:30 p.m.Medora: Maria KhorevaConrad: Xander ParishGulnara: Maria ShirinkinaAli: Timur AskerovLankedem: Victor Caixeta Sat., Apr. 13 at 7:30 p.m.Medora: Ekaterina KondaurovaConrad: Andrei YermakovGulnara: Elena EvseyevaAli: Vladimir ShklyarovLankedem: Philipp StepinSun., Apr. 14 at 1:30 p.m.Medora: Viktoria TereshkinaConrad: Konstantin ZverevGulnara: Renata ShakirovaAli: Kimin KimLankedem: Alexei Timofeyev
  11. Dance lover, and inveterate collector of dance literature, Leslie Getz, originally from California and lately from New York City, where she was married to dance critic Don McDonagh, died today after a recently diagnosed illness. She will be cremated. No further details are now available.
  12. if you mean this video noted below as recorded ca. 1961 here's how it's listed in the NYPL catalog: Le New York City Ballet [videorecording] / a production of Radio-Canada ; choreography by George Balanchine. [ca. 1961] Telecast on L'heure du concert, Canadian Broadcasting Corporation. : Performed by the New York City Ballet. : Four temperaments / music, Paul Hindemith; leading roles performed by Carol Sumner, William Weslow, Marnee Morris, Earle Sieveling, Suki Schorer and Ramon Segarra (Theme); Richard Rapp with Kay Mazzo and Bettijane Sills (Phlegmatic); Patricia Wilde and Anthony Blum (Sanguinic); Arthur Mitchell (Melancholic); Patricia Neary (Choleric)
  13. here's the historic photo mentioned above
  14. actually acc'd to RJWiley the slide is referred to in notations from the original 1892 production as "a reika" (sometimes translated as a "lath") - RJW says: "After breaking the last pose to the preceding section, the Sugar Plum Fairy and her prince move 'to the reika' at the rear of the stage. Then they traverse the stage 'on the reika' from the audience's let to its right." Balanchine's blocking reworks this, but the device he uses makes reference to this 1892 moment. The familiar photo of Gerdt's prince and Nikitina's Sugar Plum where the former wisks the latter along on a gossamer scarf is thought to show something of how this worked. Peter Wright's Royal Ballet production attempted to recreate the "gliding on a scarf" effect but it was short lived. If mem. serves this photo has been posted on this side at some point.
  15. indeed, one of the few programs to be had last night at the Beacon listed Nicholas Palmquist as performing "The prince" (December 15). after Gomes's name the dates December 7, 8 and 14 were given.
  16. the following names are indicated as "Apprentice" in the opening NUTx program: LaJeromeny Brown, Jules Mabie, Davide RIccardo (Mice); Lauren Collett, Lily-Frances Cosgrove, Uma Deming (The Snowflakes); Lauren Collett, again, Lily-Frances Cosgrove, again, Jules Mabie, again, (Hot Chocolate); Naomi Corti, Uma Demng, again, Ally Helman and Lily Zerivitz (Flowers)
  17. if mem. serves it was Nureyev, for the Royal Ballet, who re-ordered the variations of the 3 Shades; i think Makarova's order keeps the sequence of the solos as traditionally given in St.Petersburg/Leningrad.
  18. F.Y.I. scan of miscellaneous news photo of Robbins assessing the costuming on an unidentified dancer in his BALLETS: U.S.A., presumably in an Irene Sharaff design for THE CONCERT, with Saul Steinberg's backdrop in the background, which was commissioned in 1958 by the Festival For Two Worlds in Spoleto, Italy for the company's presentation of the 1956 Chopin ballet.
  19. Rose Anne Thom, dance writer, historian, and teacher, primarily at Sarah Lawrence College, died on Saturday, July 21st, according to a former student of hers. For a fair number of years, Rose Anne was regular reviewer at DANCE MAGAZINE. There are tentative plans to celebrate Rose Anne's life in the fall.
  20. at the Saturday matinee SWAN LAKE Copeland did a manège of successive chaîné turns alternating with piqué turns.
  21. the second costume for La Bonne Fée was there in all 5 perfs. that i saw, unless i'm mistaken: it appears after she 'transforms' from her notary garb. as for which costume was worn for the curtain calls each time i can't say. the two attendant fairies in pink are there in act 1 but only one is in attendance after the transformation from notary to fairy in act 2; the roster of children numbers 33 in the house program, so perhaps by act two there aren't 2 children to spare as good fairy attendants for the final act.
  22. Thanks, CH re: Petipa's first Bonne Fée in MILLIONS, Anna Petrovna Urakova, here's an undated photocard of her in an unidentified role.
  23. perhaps worth noting/recalling that excerpts from Balanchine's HARLEQUINADE, including some of the dances he arranged for children, were included in BARYSHNIKOV AT THE WHITE HOUSE, as noted in the NYPL cat: Baryshnikov at the White House 1979. Performance by Mikhail Baryshnikov with Patricia McBride and Heather Watts telecast by WNET from the East Room of the White House, February 25, 1979. Choreography: George Balanchine and Jerome Robbins. Host: Edward Villella. Duet from Harlequinade (13 min.): Choreography by Balanchine, music by Riccardo Drigo, performed by Baryshnikov and McBride, with students from the Washington School of Ballet. also worth noting that Balanchine's little Harlequins in both acts 1 and 2 were all "male" harlequins but danced by girl students.
  24. the dismemberment of the dummy limbs of Harlequin is definitely a part of Balanchine's staging and perhaps even of Gusev's...
  25. if mem. serves when in the past SAB has performed LA SOURCE at its Workshop the first pas de deux was not included in the staging.
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