Giannina

You're right. Got the Dancing Times web site and tho they publish an article or two from that issue, the book review isn't one of them. I guess you'll just have to take my word on it; it's very flattering. Giannina

Oh, dear; I'm so computer stupid. I'll have to wait til my husband gets home from work and see if he can do it. I'd just type it but it's quite long since it describes the book in some detail. Giannina

In the March 2003 issue of Dancing Times , page 59, there's a glowing review of Alexandra's book by Katherine Sorley Walker. Nothing but praise (and richly deserved, right, fellas?). Giannina

Barankiewicz, Barankiewicz, Barankiewicz. Stuttgart at Orange County Performing Arts Center. Thursday nights offering was a mixed bill: “the seventh blue”, “Cindys Gift”, and “Seventh Symphony”. All are on the modern side and this is not my cup of tea. “blue” was not on pointe, which is the kiss of death for me. Not a total loss, however, as Elena Tentschikowa danced the lead. She looked like she was on pointe (!), and her presentation was strong and her classicism was obvious. She was beautiful. “Gifts” was to very modern music; I hesitate to say “atonal” since I’m not sure of the word but that comes to mind. “Symphony” was classical, danced to Beethoven, four movements. I came alive, finally, in the second movement. This was a study in passe's and arabesques: sharp, clean, such understated movements but so brilliantly executed. Very interesting choreography in that movement. I found the choreography in “blue” and “Gifts” extremely repetitive. Saturday night was Romeo and Juliet starring Sue Jin Kang and Filip Barankiewicz. What I love most about ballet is a ballerina on pointe, and my attention is concentrated on her during a performance. Not last night. Filip Barankiewicz was a revelation. Young (looked too young to be able to dance as well as he did), tall, and wonderful. He stood out not because of dazzling technique, though he certainly had that, but because of clean, complete technique. Not only did he do crisp double tours but his leap was surprisingly high (he looked like could have done another turn or 2) and he landed softly in a tight 5th position. His pirouettes and leaps that landed (don’t know ballet terms) in an arabesque with demi plie ended without a wobble and facing the direction they were supposed to face. His single turn leaps in attitude ended with the leg in attitude holding its position just a tad longer than the leap itself so as to extend the movement. And so forth. I prefer MacMillan’s R&J (dodging bullets here) but this offering was very enjoyable with lovely costumes and sets (especially Juliet’s bedroom; I want a bedroom like that!) Giannina

Thanks. Glad you like it. Giannina

There is a wonderful VCR tape titled "A Window on the World of Classical Ballet" that provides an introduction to ballet, from classroom to stage. It gives a discription of steps during a ballet class. It introduces you to dancers, musicians, stage hands, choreographers, artistic directors....just about every facet of ballet. The tape is available at Amazon (access through top right hand corner of this page) but may be short on supply. For those of you new to ballet I highly recommend this tape as your introduction to the art. The ballet company involved is Australian Ballet. Giannina

I've had the pleasure of seeing Cojocasu and Kobborg several times in the last 2 years and I think they are superb. But more than that I think Kobborg is a national treasure. (I guess the question is, "which nation"? For now, Great Britain.) Giannina

If you perform a "search" for National Ballet of Canada it will bring up a review of their "Swan Lake". Giannina

I took my granddaughter to see SFB's Nuts. She loved all the character dances and was having a simply wonderful time until Suger Plum, etc., started. With that she lost all interest and slumped in her seat in a gesture of disgust. Bless her; that was her only disgusted gesture and the day was a rousing success. Need I add that I'm proud of her mother, who is my daughter!! Giannina

What a happy experience watching the DVD of "Peter and the Wolf" danced by the students at Royal Ballet School. My mother made me (yup, force) listen to this music as a child and, much to my surprise, I grew to love it. The students of Royal Ballet School put on a delightful performance of a ballet choreographed by Matthew Hart. Grandfather is danced by Anthony Dowell; the wolf is Martin Harvey, now a member of Royal Ballet. The fate of the duck might be a bit jarring for tykes until the happy resolution at the end, but all in all I think this would be a wonderful ballet DVD or tape to give children. Very good dancing and as such a fun filled introduction to ballet for kids. It's only 30 minutes long and comparatively inexpensive (check amazon.com by clicking on at the upper right-hand corner of this site). Giannina

Le Corsaire.

Remember that Amazon.com has a large selection of ballet videos. A purchase from Amazon.com through this website brings a percentage of the profit to the site for upkeep. Access Amazon.com at the upper right hand corner of this page. Giannina

A series of tapes called "The Balanchine Library" has many of those and more. You can check what's available at Amazon, which you can contact at the upper right hand corner of this page. Giannina

I don't have one either, to which my bewildered kids say, "Moooooom!" Giannina

Thanks. I actually understood that. Giannina

I WAS THERE!! I went to a double header of Manon: opening day matinee and evening performance, Jan. 30. The matinee starred JaimieTapper (replacing the pregnant Leanne Benjamin; aaaagh!) and David Makhateli (replacing Tewsley). I expected this to be my favorite of the 2 performances and settled in for a good time, which I got. I’d seen Tapper in Onegin 2 years ago and thought she was wonderful. She was lovely as Manon. Makhateli was an unknown to me. A “healthy” man with a somewhat hang-dog expression that made him the focus of the ballet for me; I wept for him rather than Manon. His Act I solo was very good. In Act II he stands around for so long that I worried about him “cooling down”. His ensuing solo was not very good; either my worry was justified or if he was just “off”. In Act III he was back to his old self. Tapper was sound throughout and I loved it. Martin Harvey (drop dead gorgeous) as Lescaut was good. Vanessa Palmer as his mistress was rather lackluster in her portrayal but technically sound. Ashley Page was the most menacing gaoler I’ve seen in any Manon. Happy with seeing that, I went to the evening performance starring Sylvie Guillem and Laurent Hilaire (replacing injured Cope) expecting them not to match. Guillem is starting to get to me with her hyperextensions and monotone acting technique. Well, shoot yourself in the foot, Giannina; I simply loved it. It wasn’t without fault but it was wonderful. In Act I Guillem came out with a youthful excitement about her surroundings whereas Tapper had a seductive manner which I found surprising. Hilaire is wonderful, of course, and did not produce the sympathetic feeling I got from Makhateli. In Act I’s pdd’s Guillem was so darn happy to be in love with Hilaire; you found yourself smiling with her. Exquisite dancing, and the hyper-extensions were held to a tolerable limit. Act II had problems. Had it been titled “5 Years Later” it would have worked cuz Guillem was now a woman…no longer the excited youth. As a suddenly mature Manon she again danced beautifully, but her monotone acting returned. I don’t think I can describe it….she’s talking and reacting to everyone, and actually stealing scenes. At least she does it well. Hilaire’s solo in this act was great as opposed to Makhateli’s. In this act Tapper seemed to be repulsed by Des Grieux until the card playing scene whereas Guillem was torn between him and Monsieur G.M. (played by Anthony Dowell) as the plot requires, and you could see her attention shift from one to the other. Brian Maloney as Lescaut was almost as handsome as Harvey and equally talented, but his characterization was infinitely better. He was much funnier in the drunk scenes, his facial expressions constantly changing from one glazed look to another. Marianela Nunez was a better foil for him than Palmer was for Harvey. Act III is not my favorite and there’s little anyone can do to salvage it.

This thread is so technical that I can't understand half of it so forgive this question. I hope I can phrase it so that it makes sense. I have a new Panasonic DVR-E30. In transferring tapes to discs I get a wide range of quality, from great to ho-hum. I'd like to know exactly what I'm recording: the actual tape itself or the quality of the recording my VCR provides? Giannina

Isn't she Jack Nicholson's girlfriend?

Just saw Chicago, a late birthday present from my 21 year old son who went with me. I loved it. Agree about the cuts in the dancing; I had been warned about them, and tho they are soooo annoying they weren't quite a bad as expected. Read that Zeta-Jones carried the movie; I found her the weak link. Loved Zellweger. But most of all I loved Gere! Yes I did! Granted he's no dancer, but as a manipulative crooked lawyer he was just plain old fun to watch. A wonderful highlight was "Mr. Cellophane Man" (that's the title or that song, right); it just about did me in. Incidentally I saw the musical on stage twice. Giannina

Mother Theresa?! :eek:

These puns are like peanuts; once you get started..... Nijinsky = you can't slalom drunk.

Sigh.

I'm still drooling over that Fancy Free cast. Farrell Fan, who danced the rhumba (I'm guessing Corella) and who had the pas de deux?

This comes from a non-balletic friend of mine who lives on beachfront property. I was talking ballet and mentioned "attitude derriere" and she said that's what she sees on the beach from her window!

<> Ohmygosh, that is a dream performance!