Juliet

Well, we HAVE to have the crinolines..... We might also have to have the Maryinsky stage....or at Pinewoods Studio in London (indoor shots) and that studio in Calif. where they filmed Star Wars (Tara and outdoors....).... And how are they going to translate the Rhett Line? *This* is going to tax the mine artists to the utmost! Casting? You tell me how we are gonna do Mammy on pointe? Oh my.....

One cannot help but wonder why BRB , a very fine company, brought this mess to New York..... And Slaughter on Tenth Avenue...and Nut Sweeties...while I had looked forward to the costumes for the latter, why would a British company mess with Duke Ellington in New York.... Not saying that these won't be done well, but why bring this repertory? At least all the women got to go shopping during the first week of the run....doesn't seem as if there was much for them to do on stage....

It's magenta, all right, in its current incarnation. I could understand purple. There is an excellent book, by Robert Maiorano, on Mozartiana. It is quite detailed, as it was written during the creation of the ballet. Highly recommended reading; should be readily available through your libraries (interlibrary loan, if not owned in their collections.) I don't believe it's still in print.

Hi, Kristen was in the corps of 8 girls who were extremely good, I thought. Good coaching shows--of course, none of them are exactly lacking in talent!!!!

Well, I certainly don't think Mozart, or Divert is fluff. You can see the bones all through....and exquisite, at that. I thought the performance on Saturday night was very, very beautiful. I thought it was even *better* than this company did it last year. Sarah Kaufman, in the Washington Post, made a reference to Farrell highlighting nuance and artistry in dancers who were near the twilight of their careers--what a pleasure to see Christina Fagundes, Veronica Lynn again.... We are fortunate to see Askegard and Neal perform frequently, but Eric Lindemeyer (as well as the remaining beautiful, beautiful soloists) was such a treat to see. The corps of, I believe, fairly young dancers, was lively as well as polished...this was a very, very well executed performance.....almost made you forget how difficult and layered the choreography is.... And they came up with new, lovely jewelled headpieces for the soloists to make my cup truly run over!

Quick notes,probably very few on "steps".... Square Dance: I thought the caller was annoying. Broke visual and aural concentration. Bad miking was also annoying. You would think that a major house would be able to hang a mike without all sorts of backwash.... I didn't mind the male solo as much as I minded the caller...however, I happen to really like that solo and am always happy to see it performed. Dancing was very, very good--male soloist was not especially interesting. I thought he looked like a trim Bob's Big Boy ad (mass appeal, but essentially dull.) Others looked very, very good--I was so happy to see Joffrey back and in good form! Mozartiana suffered from bad/sloppy translation of essentially interesting costume design, except for the lead male dancer--I was happy to see the demise of that awful magenta New Orleans bordello vest. I was also sorry to see the rendition of the gigue costume in matte black (usually the pants are in a dull satin) so the subtlety of his leg movement was completely lost against the marley from above. (Straight on, it may have been better.) Ananiashvili was very, very interesting to watch in this--I kept wondering how the coaching sessions between her and S. Farrell went.... I am coming to believe that a mature artist is necessary for this role...she had beautifully articulated lower body movements and it made me notice several things I'd never taken especial notice of before, choreographically. (You all know that there are many things I miss--I make no apologies as I will NEVER attain the level of knowledge of choreography that many of you have!!) I was sorry that they missed the final pose in the pdd, but..... Filin was magnificent. Clean, clean, clean. Wonderful footwork. I haven't seen this so well danced in some time. Wish they'd brought down SAB students for the children. Or gotten young Kirov Acad. girls, who do have beautiful port de bras, even at a young age.... Rubies: Corps work was great, and S. Isaacks was WONDERFUL in this. I have to say that I was not impressed by the lead couple--it looked like miscasting . She was not sharply faceted enough for me and he just didn't project....anything. Technically, there was nothing wrong, just no fireworks or even a hint of sexiness.....I kept wishing for Miranda Weese (Yes, Leigh, I did!!!) Stars and Stripes showed again the very strong female corps. Nothing against the men, but this is essentially a "puffy" role, and doesn't require a lot more than twirling in unison. (Although someone does need to coach them on marching onstage...) Costuming had some welcome twists: Liberty Belle and El Capitan finally had matching colours (teal bodice and tights, vs. teal bodice and blue tights). Now the corps women got the royal blue skirts...and I was not at all unhappy not to see all that turquoise net take a rest...)The lead couple did not have a lot of pizzazz...I think it needs a leeeetle bit of humour in there; they danced it pretty much straight, with no edge in it. And yes, you would think, in the nation's capital, that they could have dredged up a flag that did not have the stripes running through the stars. The side curtains looked like something from Camelot..... I know, my idiosyncratic viewing.....but I really, really enjoyed myself last night. [This message has been edited by Juliet (edited September 14, 2000).]

Thank you so much!!!! I'll be there tonight and it will be great to hear others' reports as well.....

And James Levine could have made certain that they went on for as long as possible....

Rocks in my head. Not Indiana limestone either! The architecture faux pas is mine...answering questions without listening to the question. I take full responsibility for misinformation...oh well. But I don't think Edward Durrell Stone is as awful as all that....most 1960s architecure in this country is lamentable...Back to ballet....

I agree with Alexandra on the Footnotes series. If one simply wants to look at snippets of diffrent productions, they are useful, but that's about it. I would also recommend the Paris Dances Diaghilev, POB Seven Ballets (I prefer this over the Six Ballets offering), any Kirov Swan Lake ( although many hate the Vinogradov production, I maintain that the dancing is lovely), the Margot Fonteyn video (commemorative one which she oversaw)... And, I am very sorry to vehemently disagree, but the Royal Ballet Bayadere and Sleeping Beauty productions are NOT mediocre! (my shrieks of outrage can be heard echoing through the ice and snow along the eastern seaboard...) Back to my sewing, but I simply could not let this pass... What a delightful way to spend the winter: looking for new ballet videos to arrive in the mail!

Happy to see that you enjoyed this, Paul. It is on my very short list of favourite ballet books that I give to people who share my enthusiams. You may also enjoy "Balanchine's Mozartiana"/Robert Maiorano and Valerie Brooks. It is more technical, but well written and the photographs are wonderfully evocative. Although it is still in print, any library should be able to obtain it for you if you don't want to purchase it. NYCB is doing Mozartiana during the winter season, first performance January 5th...

Well, I have worked both sides of this issue (having made my living in collection development/acquisitions.) Libraries are businesses, I agree, Suzanne, but I have to (rather violently, I'm afraid) disagree with you on this one. Richardson devoted years and years to this collection; the RAD had a long history of dance education and training; ergo he donated the collection. This is like putting a false front on a beautiful Georgian building and then wondering why no one is interested in seeing it any longer... Bottom line? Business like any other? I ask you... In twenty years they will be squeeking about how dance training in Britain has eroded. Well, how are they supposed to learn? Videos? I devoutly hope someone in this country buys it, or if not sold in entirety (with these figures, doubtful) that the purchasers are wise enough to give the materials to libraries who will not be so cavalier with the legacy contained therein.

There has been an interesting discussion on ballet.co.uk about the sale and dispersal of the Richardson collection. As a librarian, I find it appalling.