Juliet

Two points: As Terry said, "I think that if you're born in a certain city or a cultural center in which the people around you have also grown up seeing a great Choreographer X, then I think this "centrism" is likely to happen. I think that many Londoners will always like Ashton/MacMillan, and many Stuttgartians (?) will like Cranko, and many Danish will like Bournonville, so forth." I agree with this. I am not Balanchine-centric, but I can see why people in New York would be exposed to his choreography the most, be shaped by it, and love it, for whatever reason. I also don't think that Joffrey fans were just the the "looking for the new" crowd. By any means.......Joffrey Ballet was about a lot more than "the avant-garde!!" Me? I love Petipa *and* Balanchine, but I am not St. Petersburg or New York-centric. I spent most of my youthful energy avidly following the Royal Ballet and ABT; both of those companies' magic has dissipated considerably for me, but that is not to say that it will not return. I also think that there is a lot of insidious nastiness flowing through these verbal streams, probably because it concerns New York, and I don't like it one bit. If Balanchine had operated from Kansas City, Copenhagen, Chicago, or Berlin I don't think there would be the same amount of glee in the attack. Monotheism and ballet are not in the same ball park, let alone city.

Oh oh....Isabelle Fokine. I am surprised that she is working with them--after that "Fighting over Fokine" documentary I saw, I would not think that she would be invited to do much.... However, it takes many different spoons to stir a soup pot and I guess she has her point of view, not to mention having to make a living.

I'm with Jeannie--what finale do they do if not the one she mentioned? Glad to hear your impressions of the different casts--I like this program and am always happy when it is presented. Don't throw eggs at me, I *like* Sheherezade pdd--I've seen Lopatkina and Asylmuratova recently, but always liked it when I was growing up: that sort of female was always vastly more appealing to me than Odette! Better costume, for one thing..... ;)

I LOVE IT!!!!!!!! This is the best thing I have read in ages!!! Made my morning.... The favourite one I know is when Aurora pricks her finger and starts whirling around to the mental tune of "chicken noodle soup, chicken noodle soup, chicken noodle soup, chicken noodle soup..." Try it, you'll be singing along right with her forevermore.....

I miss the Drunken Raid on the Aristocrat's Punchbowl the ABT corps peasants used to do in the first act of the Blair production. I have a feeling it wasn't originally in Blair's staging, but rather something that evolved on its own as the corps tried to overcome the monotony of a milllion first acts.

Saratoga is a short ride north....

I agree with felursus--it depends on how well the role is executed. I know a lot of other roles which are more deserving of the flyswatter than the poor jester...those silly cygnets, for example: that's where I grit my teeth and Sit Patiently.......

Jane, where in the production does he do it? I do have the video (although I don't much like ZS's mugging in the grand pas.) I also don't remember Ashton getting any choreographic credit....I really dislike Macmillan's messing around with the grand pas choreography....I'll go watch it again if you tell me where to look---- thanks!

"So, do you like the beautiful, old-fashioned mime speeches that clearly explain the plot and are aesthetically pleasing in and of themselves?'' Yep. No negotiation. I don't care about tricks (12 pirouettes, 37 fouettees, ...) I care about mime. Mime and acting are part of ballet characterization and serving a larger goal--the other is just self-aggrandisement.

I have seen a number of them change it, especially if they realize that something is going awry... the idea of the fouettees is, partly, a device to entrance/draw into the web of deception and if the dancer feels that the characterization is being harmed by something that night, I think that most will do something else. I love when they are strongly and cleanly done, but I don't count them or care if somethiing is substituted for good artistic reason. [ 06-30-2001: Message edited by: Juliet ]

I always used to think he was neck-and-neck with Albrecht in the Dumb Department. Actually, I like to think that he's just moody and hormonal, now....there are a lot of people of that age who are not real swift at differentiation, subtle or not..... (I still think Albrecht is just a loser.)

Lucky Ballet Arizona!!!! I thought Hubbe did a wonderful job with the Workshop students in it this spring.... now if they'd just let him or someone work on Bournonvile Divertissements..... :rolleyes: Also good news about Villumsen returning to coach--I think an occasional shot in the arm like this can do nothing but good!

Yes, I saw Ananiashvili and thought she did a great job, although I don't think it was on a par with a performance I saw of this same role last year, when the Odile was simply superb. She is not one of my favourite ballerinas, but she knocked my (figurative) socks off then.

Thank you for this...she is one of my favourites, but I think it good to introduce others to her, as I don't think her renown in this country is what it should be...

Very good point, cargill--I think many lose sight of the malevolence....sex is much easier than subtlety, after all.... As regards costume and ornamentation, it is entirely up to the designer and overall gestalt of the production. I have seen everything from the bunny-ears feathers to spiky tiaras to the traditional feather headpiece.....if she is supposed to mimic Odette, the latter would make the most sense, but frequently the scale has been tipped in favour of tiaras..... For tutus, I do black--all black with a variety of iridescence, but again, it is a matter of preference.....

I'm assuming that you want to buy these? Giselle with Fracci/Bruhn has her dancing the peasant pdd with Ted Kivitt. New York Public Library's Dance Collection catalog is online if you'd like to look at the holdings, and they are usually available for view. I am sure that others have more commercial suggestions....

Miami City Ballet just did it during their recent Washngton stint.

I have also heard that it was a performance that beggared description. Sigh. Two hundred miles away, I have to take it on faith and bless the good fortune that enabled some of you to see her.

Never having had the slightest desire to be onstage....... I've also not had a longing to inhabit any of the roles...... however,wanting to wear some of the costumes is, indeed, another matter! This does not, I am aware, answer your question. One role I know that I would never, ever, *ever,* be tempermentally able to undertake is Giselle. [ 06-17-2001: Message edited by: Juliet ]

Thanks for the review--it *is* very different than we are used to, but I enjoy those ENB circus productions.... Sit in the seventh or eighth row, next time--you'll not have your sightline blocked and still be quite close.... I like to sit near aisles so I can feel the wind of the exits and entrances, also! Yes, the sad realization that the gods of the dance are not larger than life....being elevated on a stage always gives that extra element of grandeur (not to mention height) to dancers.... ;)

I have heard (and believe I also read some reviews) that there were visual/musical coordination problems on the DVD. Why, I have no idea.

Lots of us don't count turns. Don't worry about it. The more you see, the more nuance you will recognize, the more you will learn what pleases you, what leaves you cold. Art is nothing if it doesn't touch you. You aren't going to love everything you see, although the more you see, the better /wider your field of comparison, of course. I am the only person in the world who absolutely LOVES the new Royal Ballet Sleeping Beauty production, amid the general boo-hiss on both sides of the Atlantic. Do I care a jot? I can tell you in exhaustive detail, scene by scene, why I love this production, discuss the literary and artistic allusion, etc. , etc. and so forth. (But I won't!) Keep watching, keep an open mind, and see you in Saratoga next month.....

Thanks for the review--I'm looking forward to seeing this program next weekend....nice to get advance notices, however--

I refrained from commenting on this in the earlier thread, because it was not part of the discussion per se. I don't think people (especially 12 year olds) necessarily want to train at SAB and join/be exposed to NYCB because they think the "corps is all that fantastic." They may like the repertory, the training, the milieu....there are as myriad reasons as there are dancers. I have never heard one student at SAB or elsewhere mention the excellence/lack of excellence of the company's corps as a reason for their wanting to receive training there. I don't necessarily think that any one school in the US is an ideal training ground for ballet corps work. It is not part of the American balletic tradition as it is at say, the Royal, Bolshoi, or Kirov. Years ago I used to look to ABT and admire the coaching and beautiful musicality of all those dancers.....now, dancers join companies from schools all over the world and it requires a good deal of rehearsal time and coaching to achieve this look.....perhaps it is not possible with such a variety of dancers' training and the current lack of rehearsal time. Kirov and Royal Ballet remain my very favourites to watch for beautiful corps de ballet work--it was a wonderful treat to see this weekend here in Washington, and we look forward to the return of the Kirov and Bolshoi as well.

Quick notes on Saturday evening: Wildor was delightful--very well acted with just enough Bad Girl, but not teetering on the edge of petulance. I have no complaints about her technique or lack of stilettos in her pointe shoes....I thought she was lively and right on the mark in everything. I am not a huge fan of Stiefel, but he was certainly born to play Colas, and play it magnificently he did. His acting and interplay with Wildor were a high point for me--tenderness and subtlety are not always translated over the footlights, and this is a great part of Ashton's appeal for me. This pair was in love and danced it very well--I loved the cat's cradle dance and the gentleness with which he consoled her after her embarrassment in the second act.....these are adult artists and they know how to demonstrate the nuances of love. The corps was superb, and I must say that it is no less than I expect from this company and I am delighted not to be disappointed during this visit.....they were just wonderful and I am so sad not to have a chance to see the Swan Lake (although I give the barnyard flock very high marks for a well-crafted performance!!!!) I had only one major disappoinnntment and that was the way Alain was depicted...I really don't see this character as the village booby. I was very, very uncomfortable with this portrayal--I only saw it for one performance, but so broad were the strokes that I am afraid that this is the general tone of this characterization now. Haplessness is not the same as fodder for ridicule of a particularly nasty sort. It was a beautiful production, familiar, but brightened and spruced up--the lighting was particularly well done.....altogether a satisfying and joyous way to spend a June evening. [ 06-11-2001: Message edited by: Juliet ]