Giannina

A note to my husband. "Honey, thanks again for taking me to London last month; otherwise I would have missed the privilege of seeing Sarah Wildor in 'The Dream'" Giannina

This thread is a great idea. Unfortunately I don't know any ballet jokes other than the quips "Giselle gives me the Wilies" and "Turnout is fair plie", which are old as the hills. We've all made comments that are hilariously funny to ballet lovers; can't think of those either. Surely someone has a ballet joke or two. Maybe we could make up some, for example, "What do you get if you combine '... and ...'?", using ballet characters/terms/titles. Giannina

I never did pay money to see that. My reaction to TV/movies is that nearly every subject portrayed seems so insignificant. I'm in a gentle mood, that is I want everything to be gentle so that my shattered existance can try to recover. Most ballet is gentle; "Car Man" isn't. Giannina [ 09-21-2001: Message edited by: Giannina Mooney ]

I didn't think I had an untouched emotion left in me but that tribute is unbelievable. I add my thanks to all our international friends for their concern; we are truly blessed in this most difficult of times. Giannina [ 09-13-2001: Message edited by: Giannina Mooney ]

"Coppelia/Barbie" "Coppelia vs Barbie" "Coppelia or Barbie?" "Coppelia and Ken" Gotta be something there someplace. Giannina [ 09-08-2001: Message edited by: Giannina Mooney ]

Isn't it interesting that Monotones II has come up several times. I think I'd nominate that one too. I saw 2 performances back to back and the 1st was more perfect than the 2nd so what does that mean? Add the "performance angle" and I'd add Makarova and Dowell in one particular performance of "Swan Lake", and Harvey and Bissell in "Giselle". Giannina I'm going to answer my own question. The ballet (Monotones II) is perfect; the performances need not be. [ 09-05-2001: Message edited by: Giannina Mooney ]

Moms! Giannina

Jeez! That was an "inordinate" amount of time I spent. I'll blame my error on jet lag. Giannina

felursus...don't know if the issue about Guillem's ribbon-less pointe shoes has been settled but just in case..... While in London I saw her Giselle for the 2nd time, and since it left me cold the first time I promised myself I'd go in with a different attitude. As a result I spent an ordinate amount of time examining the ribbonless issue. They're there. There're the same color as her legs. With very good opera glasses (and time on your hands) you can see the outline of the indentation the ribbons make on her legs. Giannina

You're welcome, Alexandra. Helena...I did see Valtat in "A Month...." at the Sat. matinee. The problem was her co-star, Putrov. Both are fine dancers, but Putrov looked much much too young for the more mature Valtat and the plot lost is plausability for me. Giannina [ 08-22-2001: Message edited by: Giannina Mooney ]

I saw this too!!! I had a wonderful trip and I wrote everyone a little "postcard" which I'll now print. Thursday, Aug. 2. A PERFECT BALLET EVENING. You start with a strained back that's been hounding you for over a week and threatening the success of your trip. We're talking pain whose prescribed medication nauseates you. Rock and a hard place. You get the picture. Royal Opera House, mixed bill, heavy on Ashton, great seats. It opened with The Dream which is a "dream" of sets and costumes. Much had been posted about The Dream lately so I got a hint of its flavor. Having never seen it I relaxed and let it "do its thing" on me. Thank you all for those posts because I was carried away by the music, dance and choreography. Sarah Wildor and Acosta starred, but so did the rest of the cast. The pdd between Wildor and Acosta was so beautiful and sensual. Wildor is a lush dancer: lush in build and lush in technique. She moved me to tears. Add to this a meeting with Jane Simpson and her husband at the intervals. I won't embarrass them with details (unless they want me to!) but they were most gracious and my husband and I had a wonderful time with them. My public thanks to both. Next the the Sleeping Beauty pdd, totally foreign to me in choreography by Ashton and music by Tchaikovsky. Apparently Ashton added this as part of the awakening scene. And then....THEN....Monotones II. Finally. I have no words. The music has been an emotional part of my life; I guess you could choreograph a soccor game to it and I'd love it. But Ashton choreographed the most marvelous ballet and I'll never recover. Christina Arestis starred and was perfect. I mean it: perfect. One of her male partners was off in timing, but in spite of this the ballet, to me, was perfection. Remember that thread we had about ballets that make you cry? I was a sobbing mess, which caused my husband to look at me askance. He did that. This was one of those ballet moments that bring you back to the theater time after time. Oh, I really do love ballet! After that things were downhill but still wonderful. We had the bedroom pdd from Manon with Benjamin and Kobberg. I love MacMillan and Manon. I agree completely with Sylvia about Benjamin as Manon; she gave what I think is the best presentation I've seen. She was strong and secure. This was followed by the Don Q pdd with Yoshida and Urlezaga. As a couple they did not shine but their solos were very good. If you're into the fouette thing, hers were excellent. The evening ended with A Month in the Country. Now I'll walk over broken glass to see Guillem, and I truly like A Month in the Country, but.....! Murru subbed for Cope and, having seen so much of him lately I'm getting to like him quite a bit. But nothing clicked between him and Guillem, and Guillem's idiosyncricies (spelling) are finally getting to me. None the less the choreography is gorgeous, as are the costumes Natalia/Guillem gets to wear. I saw this program once more but it couldn't match the excitement of seeing it for the first time. Later I saw, again!, Guillem's Giselle. Nothing had improved. Finally, may I add that the applause was applied at the correct moments. No burst when the star emerged, no hoots when sensational dance steps (including multiple fouettes) were offered, and (I could hardly believe it) total silence as the Willies did their traveling arabesques across the stage! Wonderful!! Giannina [ 08-22-2001: Message edited by: Giannina Mooney ]

Ferri was supposed dance Carmen but bowed out because of her pregnancy. I can't help but wonder if she would have fared better than Durante. Any opinions? Giannina

Not only was it amazing that Leigh recognized the pattern's source then but he still remembers it today! Still flaggergasted, Giannina [ 07-18-2001: Message edited by: Giannina Mooney ]

Green Green Green! Thanks, Manhattnik; not just a great review but much insight along with a tad of your personal history. Giannina

Here comes the "old-timer" with her, "Now, in my day....". In my day the legitimate theater was a place for dressing up. Formal wear was not unusual; at the least women wore dresses, hose, dress shoes, etc. Now, anything goes and it ruffles my feathers. There are so few occassions when everyone looks their best and I like to think that going to the ballet is one of those occassions. Dressy pants are fine; jeans and sandles stretch the limits. Quit throwing those bricks! I can see that the relaxed atmosphere makes the theater more appealling and it's OK with me. Opinions were requested. I always take a sweater or stole, even on the hottest days. I'm short, and if I can't see over the person in front of me my wrap becomes a pillow. I'm short enough so that even on my pillow I'm not threat to the person behind me. Giannina [ 07-16-2001: Message edited by: Giannina Mooney ]

Amy I sent you an e-mail; hope I had the correct address. Giannina [ 07-16-2001: Message edited by: Giannina Mooney ]

In Guillem's mad scene I didn't notice that dancing stopped any more than it does in other Giselle's. You've got some memories of dances with Albrecht...that's about it other than staggering, wandering about. Those "dancing boots" still looked like pointe shoes with knee hose over them. I have super binoculars. I'm going to see this again in London (did anyone know I'm going to London?!) so I'll try to remember to give them a closer look. Lord knows I'm not going to be rivited by the choreography. What I liked about Guillem's curtain calls was not the bowing itself but her attitude. She was happy; she was smiling! Not, "Oh, I'm so humble and you're so appreciative; thaaaank you!; nor, "Who, me?" It was, "We had one heck of a time dancing for you and let's share our enjoyment." When she brought out the conductor she simply beamed. Lovely. In all fairness to Guillem, I'm going to view this production with a new attitude while in London. I know what to expect; I'll accept it for what it is and probably enjoy it a lot more. Won't I? Giannina

I'm at a loss for words. Lara said lots of them for me...and thanks. The program says, "Choreography by Sylvie Guillem after Marius Petipa, Jean Coralli, Jules Perrot" That should have read, "Waaaaay after!" At the end of Act One I was almost in tears I was so upset. This was not "Giselle", not even close. Lara explained that rotating set perfectly; it cut the stage in half and you knew you were going to miss half of something. Not only were the costumes drab but the women wore brown socks that came to mid calf. Forget about line. I have "Giselle" memorized, and few adaptations mess with tradition. Not only was the dancing foreign but at times the music was too. Traditional "Giselle" has some wonderful solos in Act I for Giselle; this "Giselle" had one extremely short one. Gone were those beautiful double pirouettes in attitude. The peasant pdd was unrecognizable though very well danced. Part of the beauty of "Giselle" (and ballet) is knowing the choreography, anticipating it, and comparing it to others you've seen. Some of the characterizations upset me. When Berte warns Giselle of dancing and the Wilies, Giselle, Albrecht, and half the townspeople laugh at her behind her back. Act II was only a tad better. The women were in white, and there were a few (very few) recognizable snippets of dance. Guillem. I thought the choreography was so toned down that it failed to show why Guillem is so beloved. Did she do this because she is slowing down, something I don't want to believe? Her mad scene was excellent. She has the best bows and after-performance routine I've seen. Other than that, it was a sad evening. Sad because it wasn't "Giselle" and sad because it wasn't Guillem. Right, Lara? Giannina

Thanks for the report, Roma. Giannina

We've all had similar situations. It reduces us to be as politely rude as possible when we ask them to stop the disturbing behavior. A rolled up program could be used to gently nudge them, followed by a stage whisper. Perhaps someone sitting to the side of them in the row between the 2 of you could gently nudge them and then you do the stage whisper. I've gotten to the point where I don't care if people give me a withering look; I'm right, a senior citizen, and I deserve respect. I've told this story before but I love it and can't resist repeating. A young woman kept stealing down from the upper balcony seats and sitting in the empty seat in front of me. The usher asked her to move and she did, but she was back by curtain time. She wore a hat forcryingoutloud! I'm short and couldn't see over the hat so I asked her if she'd kindly remove her hat. She did, and unleashed the frizziest, most bouffant head of hair I've ever seen, making the hat definitely the lesser of 2 evils. Giannina [ 07-01-2001: Message edited by: Giannina Mooney ]

If "leave things as they are" is an option then that's my selection. It's a thorny issue and I think we've done quite well so far. Giannina

I'm with Melissa: Makarova. I really liked her Odile. While "dazzling me with her footwork" she also showed that Odile was having a simply grand time vamping Sigfried, and the looks she directed at the audience let us in on her ploy. I smile just thinking of it. Cynthia Gregory comes in second, and Chenchikova (spelling) is third even tho her acting left much to be desired. Giannina [ 06-29-2001: Message edited by: Giannina Mooney ]

Jeannie....thank you so muchfor the travel tip; we shall definitely use it. Giannina

Colwill, e-mail me at moons1295@aol.com Anyone else? E-mail me! Giannina [ 06-22-2001: Message edited by: Giannina Mooney ]

I'M GOING TO THE BALLET IN LONDON THIS SUMMER!! In case someone missed that. Can't wait. I've gone to several ballet cities when there was no ballet, Paris of late. I love going to New York. I stay at a hotel right across the street from Lincoln Center (not cheap) and OD on NYCB and ABT. I'd love to see POB in Paris, and I'd love to go to Copenhagen. Giannina