Giannina

Cute topic. I got the NYCB calendar, Plisetskaya's autobiography, Tallchief's tape, and a small ballet sculpture. Ho ho ho! For my January birthday I'm going to London for ballet. Now THERE's a gift! Giannina

Every mother has. On stage: Makarova, "Monotones II", to name a few. Giannina

Well, if I can't go to these rehearsals I want Sonja to go and then tell us in minute detail. Thank you so much, Sonja! Giannina

I didn't. Nuts Holiday, remember? Giannina

Here's a list, but I doubt it's all inclusive. Besides ABT: Moscow Classical Ballet Nouveau Chamber Ballet Laguna Ballet City Ballet of San Diego Palos Verdes Ballet San Pedro City Ballet West Valley Ballet Westside Ballet Ballet Pacifica Orange County Regional Ballet Saddleback College Giannina

Several Nuts here, including ABT. I'm giving myself a Nuts Holiday. Steve? NextStage? Giannina

Have you got a phone number (toll-free would be nice) and/or web site for them? Giannina

Idiots.[/QB] Indeed. Giannina

Last year for Christmas my husband ordered 3 Australia Ballet's DVDs from David Leonard's store, formerly in London, the name of which escapes me. These DVDs were supposed to be formatted to play on USA DVD-players. No go. Tried them on a friend's DVD with the same results so had to return them. Has anyone in the USA had any luck with these DVDs, and if so where did you get them? Giannina

Guillem's "Giselle". Giannina (The 3-G post!!)

I think it's called "Onegin". Giannina

Surely you jest!! Giannina

I'm still reading the excellent August 2001 issue of Dance View and was fascinated by Isobel Houghton's article on Guillem's "Giselle". I learned a lot about the ballet. Most surprising, for me, was her statement that by saving Albrecht from the Wilis's spell Giselle herself was saved from the Wilis and "will return to her grave and rest". I didn't know that! Am I the only one who has missed that redemptive angle all these years? Giannina

Right!! Giannina [ November 19, 2001: Message edited by: Giannina Mooney ]

<<I just couldn't make myself believe that Marianela was in love with Carlos Acosta. Yes, he is a great (really great) dancer, but he is so aware of this I sometimes feel it reduces his dancing to a bit of a spectacle instead of something emotional.>> That is an excellent, telling observation. Acosta has tremendous talent and these elements can spur him to greatness. Giannina

Giselle sews. Her mother cooks rabbit. Giannina

La Fille Mal Gardee, tho it might not be too well known in the States. Onegin...same thing. Both such terrific ballets. Giannina

Saw The National Ballet of Cuba's mixed bill Thurs. night. I'm claiming the "doting mothers" amendment. Saw their "Coppelia" Sat. night and it was wonderful. Lorna Feijoo and Oscar Torrado starred with Felix Rodriguez as Dr. Coppelius. Put me on the list of Lorna Feijoo fans; she was simply beautiful (as she was Thurs. night): secure, technically brilliant, fleet, and a happy/girlish Swanilda. Rodriguez as Dr. Coppelius was so much fun to watch. Much of his dancing was tiny walking steps that glided him smoooooothly (just the slightest ripple) across the floor. Idania La Villa was also noteable in Act II's Dawn Solo. There was a live orchestra rather than the ear-splitting blaring canned music of Thurs. night. What a difference that makes...watching Feijoo and the orchestra work with each other on phrasing delicate steps. The sets were minimal but so colorful that you didn't notice. My main complaint about the company: the manner in which the men support the ballerina about her waist in pirouettes. Usually it looks like the ballerina supplies the initial motion with the man unobstrusively coming to her assistance as she slows down. These men start spinning her from the first rotation, vigorously and visibly...their hands coming more than half way around her waist. Giannina [ 10-21-2001: Message edited by: Giannina Mooney ]

That was a wonderful discription, Sonja, especially the quotes as Dowell gave advice to Wehe. I eagerly look forward to the same type of report on Sibley. Thank you so much! Giannina

Yup, another one; I on a streak here. Miami City Ballet's "Jewels" at UCLA's Royce Hall, Sat. evening the 13; restaged by Eve Lawson, costumes recreated by Haydee Morales and Maria Morales, scenic design by Tony Walton, lighting by James Leitner. I haven't seen this company in quite a while, and I love "Jewels" so this was a double treat. Emeralds's choreography is so beautiful, and it was a wonderful re-introduction to the company for me. All danced extremely well, especially Mary Carmen Catoya who was pure pleasure to watch. Rubies was fascinating. Jennifer Kronenberg danced the pdd with Eric Quillere. As she was dancing I kept thinking, "This is exquisite." Her steps and phrases were sculpted, fully extended, I can't come up with words for it. When it was over I realized that as beautiful as it was it lacked, for me, the angularity, the quirkiness that McBride gave it. I'm not sure which I like better. Diamonds is my least favorite of the three. It's formality is such a contrast to the movement and expressiveness of the other two segments. Even at that it's a wonder, and from the balcony I could enjoy the patterns that the 16 couple form. Edward Villella hosted a short question and answer session after the performance. He's lookin' good! Giannina [ 10-14-2001: Message edited by: Giannina Mooney ]

Oh, dear! I guess it's good news for Malakhov but I'll sure miss him at ABT. Giannina

Hong Kong Ballet's "The Last Emperor", choreographed by Wayne Eagling, music by Su Cong, sets by Liu Yuan-Sheng, lighting by Tommy Wong, costumes by Wang Lin-Yu; Cerritos Center for the Performing Arts. Well, it wasn't all that bad. The ballet tells a HUGE story, just about impossible to rein in, and though it's plodding in parts Eagling has done what I consider a good job. The program offered no mention of the 3 lead women's roles nor who danced them, but since the company brought only 3 principal ballerinas you didn't have to think hard. Michael Wang dance the role of Pu Yi, the last emperor. His life is traced through political intrigue, revolutions, a beloved tutor, loveless marriages, drugs, imprisonment, The Red Detachment of Women forcryingoutloud, and finally freedom. Eagling's choreography moves the story along smoothly; the well trained dancers were lovely to watch. The unnamed ballerinas were especially noteworthy (Eriko Ochiai, Ayako Fujioka, Fei Leung). Company artistic director, Stephen Jefferies, effortlessly danced the role of the tutor; it was nice to see him again. Giannina [ 10-13-2001: Message edited by: Giannina Mooney ]

I was in the balcony too (matinee), plus one other paying customer and 2 disgruntled patrons from the orchestra section. Giannina [ 10-08-2001: Message edited by: Giannina Mooney ]

I've been hitting the jackpot at ballets lately, at times expecting ho-hum and getting terrific instead. Saturday was such a day at Ballet Pacifica; they've never looked better. I think it's because this was a program that suits their talents best. Lighting by Liz Stillwell; costumes by Rhonda Earick, Linda Davisson and Molly Lynch. The mixed bill opened with "Different Trains" choreographed by Molly Lynch with music by Steve Reich. 12 dancers in wonderful 1940's costumes, dancing very basic, solid, classical choreography and dancing it extremely well. (I wrote my notes with my eyes on the ballet and now I can't read them!) The ballet ended with all 12 dancing the same steps but at slightly different times. It's been done many times but this was especially effective, giving the look of a babbling-brook type of motion. The ballet was very short, no more than 10 minutes; I wanted more. Next was a world premier of "Liaisons", choreographed by Robert Sund. The music was played on a harpsichord and cello on stage. The story is Valmont/Dancerous Liaisons. Nice story-telling choreography, but what made it work was Hitomi Yamada as Mademoiselle (the innocent victim) and Tom Barber as Le Vicomte. She was so pure, so naive, so loving, so astonished at what was happening to her; her acting enhanced her dancing. He was baaaad! They were wonderful together and made the story/dancing vibrant. After the intermission we were given "Sunflowers" by Antony Tudor, the reason I went to the ballet. I hate to admit this but it left me cold. Nice choreography, nice enough dancing, but it didn't come alive. I guess I don't understand Tudor. It was staged by Airi Hynninen who stages many of his ballets so I'm assuming it was true to his choreography. Finally we had the world premier of "Aquilarco" by Susan Hadley who has worked with Mark Morris; music by Giovanni Sollima. I was expecting Morris-ish dance but was pleasantly surprised by a happoy-go-lucky piece of ballet (on pointe). Everyone in unitards. It opened with a woman doing various types of pirouettes from stage back to stage front. Pretty. Eventually a series with women leaping wildly into men's arms which made me extremely nervous! Those men were working hard. Lots of passes across stage, some more effective than others. The 2nd part was slow, beginning with a man's solo. Then all 9 dancers slowly moved around the stage in a tight group with small walking steps that were very nice, but sensational on Erin Holmes (blond girl in red....told her name after the show) who has terrific feet and made those steps sing. I could have watched her all night. It ended with a joyful section of dancers weaving in and out as they formed patterns within their group of 9; classical and relaxed. The theater was practically empty. Sept. 11th? If ever there was a spirits-raiser this performance was it. Thanks for a wonderful afternoon, Ballet Pacifica. Pray for peace. Giannina [ 10-07-2001: Message edited by: Giannina Mooney ]

Oh, Lordy, Ed; that last one is a classic! Giannina