Juliet

Now *this* is what I would like: a map. Spots designated. A walking tour. Just the sort of thing a researcher with extra time ought to be able to put together for a BA Walkabout.... Now, who has extra time? I am really enjoyig reading this.....

Yes, but you expressed it so beautifully!!!! There is also www.bournonville.com, which is always interesting and may give you additional information for your report, Henrik.

I was hoping that someone would attend the performances and report! Hint, hint...

I think this discussion must be just that--a discussion. I don't necessarily see "a point" to it, if one means we must draw one, final conclusion. I also would, by no means, classify SFB as a regional company. I don't think that any company based outside of New York is regional. I have, however, seen internatioal calibre dancers in smaller companies.

Thank you! I had no idea-- In any case, out of print CDs are occasionally available through the internet or in shops......we can keep a weather eye out for you, Solor and let you know if anything turns up.

A respectful differing: Chenchikova is not "sloppy as hell compared to" ANYBODY. Much as I hate to disappoint you all, the reference to "spitfires" was not originally directed at Manhattnik. I know, I know, it's a disappointment......in M's case it is more like a long, controlled rumble of thunder on the horizon and then, KABOOM!!!! Well, I guess I will have to wait til SFB gets down to KenCen later this year to see what we see and I am not going to be too discouraged any longer about missing "Paquita."

Valery Gergiev recorded the complete Sleeping Beauty fairly recently with the Kirov....it is available on CD. (I found mine used at Academy Books and Records in NYC and snatched it up....) For Swan Lake, the video with Mezentseva and Zaklinsky has the proper music. I believe--you could take it from that for rehearsal at least..... I think there might be a complete Bayadere through a site with Christopher in the name somewhere--it was mentioned here on the board recently (they also have the Don Q music) I rec'd a catalogue from them and they seem to have a nice assortment of ballet music--Victoria Leigh, are you there? (She knows to what I refer....)

Reviewing a seasoned professional dancer with a major company is not the same as reviewing a 16 year old in her first solo role....and I know that this dancer has received a variety of reviews in her career. She has been with SFB since 1995, joined as a soloist. I thought she did a beautiful Giselle in 1999? 2000? when she was in Washington. I liked her less in Bugaku the next time around, but still she brought a beautiful delicacy and line to the role.... the Paquita ballerina role is neither of these. Very different. In any case, this was not written for a published review, it as one person's informal impression *once.* Liking a particular dancer in a particular role on a particular night varies tremendously-----that is the beauty of the artistic experience: it is infinitely variable.

Tsk, tsk.....now, be nice!! This is Twyla Tharp, danced to Billy Joel. (I think I'm busy that evening. In fact, I know I am!):rolleyes:

Now, there is no way on earth I will ever hope to be able to top dancing cupcakes...........sigh..........I am a Failure as a Designer. I am, more than ever, sorry to have missed this......

There is no way that I can add to this! However, in it's defense, I must hasten to defend the Baltimore Opera. These ads are a hoot. They are not nasty, not perjorative, they are really clever, they translate to print very well--I used to save the brochures I got as examples of good marketing. I think they are great! So there. Look at their web site-- I have to say that I think Farrell Fan's slogan would go on my car if I were a bumper sticker kinda gal......

Is Katita Waldo still dancing with SFB? She has That Hair...... I am sorry to have missed this.....

I have the Petit complete version, but my copy is a copy and I don't know the provenance.... I recently saw the RB version (Osbert Lancaster production, which I like) but for my money, the most beautiful production, by far, is the NYCB which I believe they are doing this winter season. I think it is a perfect production to introduce children to ballet--short, sweet, they can have a good time with all the doll's variations, and the music is so beautiful..... Juliet

Shhhhhh! Kevin MacKenzie might read this.

They are thinking that a lot of people like this ballet. Ticket sales.

I didn't think it was all that bad. The dancing itself was lovely, for the most part....neat and precise and the women had beautiful port de bras. The choreography and the production were, well, mannered. Rather formulaic and dutiful, not joyful. But the costumes were pretty enough, the dancers are all very young, the training was there. Not their fault if they had to dance what looked like mediocre choreography at v e r y s l o w tempi. It was rather odd to have all Asian dolls (the characters, not the dancers!) Wasn't this credited as Pierre Lacotte's reconstruction? It was a very pretty evening, certainly not a romp, but quite enjoyable for the audience, I'd venture. I worked this show and I must say that this is the most well-mannered, well-organized, professional and efficient group I have worked with in years. It was a pleasure.

"The figure gliding toward Cinderella is none other than Herr Drosselmeyer. But the kindly, if slightly daft, old codger has an evil glint in his eye, as he bids Cinderella "Goood evening. Let me show you my new, late-model Nutcracker." When he opens the Nutcracker's jaws, two horrible bloody fangs are revealed. Cinderella emits a blood-curdling scream..." Sounds like Eifman to me........ Don't forget the glitter for the other pointe shoe; you don't want a faux Princess stepping lightly into the final variation (or 14...) ************** Actually I have always been interested in seeing the Dracula which was originally made on Northern Ballet Theatre, with the Philip Feeney music....I know nothing other than it looks like a very interesting production. Has anyone seen or danced in it? Other than that one, I am not even slightly interested in Dracula....

Political correctness is much more in evidence these days. (Just look at the Ross Stretton thread....) Anyone who doesn't think all this hasn't been going on for years has on blinkers (and I am not just speaking of Balanchine, so please don't slap my hand).... I don't particularly mind if Guillem poses in whatever/however she wants...she is an artist and however she comports herself offstage is her business. We hear a good deal less about theatrics in this country...I always enjoyed reading Viviana Durante's comments, for example--not particularly PC, but her opinion is her business. Dancers work exceedingly hard; their time offstage is their own, their behaviour their responsibility and not ours. There are people there under those tiaras, and I say the more personality evident the better--certainly less boring! Sensationalism is one thing, personality another.

I was also dismayed when they changed it from Philharmonic Hall.... but I think the idea of a George Balanchine Theatre, although not as euphonious as NYST (which probably had something to do with the level of state funding they received, I imagine) would be a good idea..... of course then, they will have to name the Met Opera the Vilar Pavilion, to complete the "named for someone" idea which seems to be marching inexorably around Lincoln Center Plaza......

They only itch if they're not made properly!;) But you're right, some dancers love to wear them, some hate them!

I like tutus best, as well. The fancier, the better. I am, however, exceedingly picky about type selected for the choreography, fit on the dancers, and overall design. There are an awful lot of *really* cheesy tutus out there...... However, the majority of female dancers will look better in a bad tutu than a good unitard. Men look good in just about anything.;)

I like the early curtain, too. Given the size of most of the American public, having a light meal will not hurt, one night a week. Given the changes in family dynamics in the last half century, I would think that an earlier curtain would be easier for most women--we still have things to do at home after we finish attending ballet performances, not to mention jobs to get ready for the next day. This is not intended to provoke discussion, just an opinion.

Everyone to his taste. This issue is too involved for me to address properly on this discusssion board, but I will submit, ronny, that while tutus are indeed beautiful and appropriate for many sorts of ballet, they are not for every piece. The shape, construction, and design of the tutu has changed and evolved over the last century or so, and currently there are many different variations. There are many, many things to address when dressing a dancer and when designing a ballet---sometimes a tutu, of whatever length or design, is not the best choice. I appreciate that you enjoy classical tutus, and hope that you will send lots of business my way!

Thank you, Olivier--I wondered about this, too, but the question is much better coming from you!!!!!! I don't think Principal men get all the fanfare they ought to, frankly! They train just as long and hard as anyone else....

New biography out on her by Anne Edwards--I liked it (unlike some other ones recently issued....)