Juliet

I think it is lovely and I listen to it frequently. The only part that I do not care for is the peasant pdd, which I find boring, musically. In a performance, it is redeemed (sometimes) by the dancing.... Robert Irving's recordings of Giselle and Michael Tilson Thomas' are quite wonderful. I recommend them highly. I seldom find Giselle affecting, although I have been moved by a few performances, but I do love the music.

Mashinka, thank you for writing. We are all thinking about you....please keep us updated and know that we send hope and prayers to all there.... Juliet

Monique Meunier. Sofiane Sylve. And, of course, Nina Ananiashvili!!

OOPS!!!!! I got caught in the briars..... Thanks!

They are VERY well worth revisiting!!!! You mention three of my favourites and I share your interest in their revival.....however, these, as any ballet--especially revivals-- need coaching. Rehearsal and coaching. Too many dancers at NYCB seem to be expected to operate in a vacuum these days....nurturing and education are necessary for any artistic development, and the performances will be obviously richer for it.

Well, Royal Ballet has had the revolving door of Swan Lake productions lately....I saw the unfortunate, very recent Makarova one last year (no magic, dusty), and they are bringing yet another "new" one on tour to the US next year...One can hope for something better! The Balanchine is superb--and they are doing it several times in Saratoga this summer, so no grumbling, please..... I love the Kirov one, but lament the curtailment of mime....perhaps they will restore it (hint hint)...the ending is silly, but there is so much else that is good....

That's very welcome news!!!! Thanks for the update

"they haven't been released and I was told it's unlikely that they would be".... That is an exceedingly depressing commentary...in this age of technological wonders, to have nothing publicly available of a major company's work. It seems very isolationist and parochial, frankly..... other companies resolve the issue of paying royalties. There is a record of their work, too, for the artistic community outside Copenhagen. Very, very sad. I had hoped that they'd record/release the Bournonville Festival this year--good or bad, it would be a document of a major company, at a particular moment in history, performing work by a major choreographer. The insularity is characteristic but continues to disturb me.

I'm sorry to have missed everyone, but not sorry that I went to various performances of this....I saw and learned a great deal.... A highlight for me was Heather Ogden on Saturday night---her third act variations were thrilling--well done!!!! I don't find the role particularly affecting, although I did her performance.....all heart, emotion, and exciting, expansive dancing in the vision scene....

The entire evening was more tightly paced, more cohesive, more flow..... quite enjoyable.... although I didn't feel that Rodriguez is an expansive, dramatic dancer...... technnically, she was fine.....but technique is not what I am primarily looking for in Dulcinea.

Believe it or not, I think some people were expecting Kitri. I didn't leave my seat during intermissions, but heard many, many comments! Yes, of course theere were program notes. One has to bother to read them, however......

I'm happy about the view, but sad...disgruntled...that the others left before things got rolling. It was a tedious first act, but the pacing and stage business may improve as the production gets more seasoned. Re: the Capezio Award, this was not a secret--I knew it was going to occur and while I wished that it had taken much, much less time, I thought that Ms. Farrell's acceptance remarks were lovely. Much more memorable than the drivel one usually gets at these things. It is a very belated recognition of her gifts, but better late than never!

I forgot--actually I quite liked him. I must have been captivated by the horse....

A few wispy thoughts....like the clouds on the front scrim..... The first act was exceedingly dull. I know what they were trying to do, but you know, it just looked thin. There was NO dancing until the happy villagers bit (and I get real tired of happy villagers real quick.) I wanted to like it, the costumes were gorgeous and very carefully done, and sets were good, but it was, as Natalia said: B o r i n g. Act Two I looked forward to for the costumes and sets. The one dance for the nobles, made me happily shift in my seat and say, "well, that was quite lovely, quite interesting, well done! Maybe this isn't a dud...." Then the divertissements were good (although I have Gelsey Kirkland indelibly impressed on my senses), and they got better..... I thought the ballet did build. The dark,repressive cruelty of the court; the beating and caging, the masks....the stagecraft was good and the intensity a world away from those happy villagers. I am very glad that I chained myself and my companion down to stay for the last act: it was worth the evening. Wonderful to see Balanchine choreography again, excellent dancing by the soloists and corps---great energy, lots of flying draperies and shades of Walpurgisnacht....very clean, very memorable. Nothing like it being produced currently, that's certain! I had initial reservations about Rodriguez.....but her third act variations were terrific! That gorgeous pliancy, clean execution, and she danced like a demon in the last act---I used binoculars so saw a good deal of emotion in her face and dancing, but obviously she needs to work on projection as others have not mentioned what I saw. Mladenov tried. His makeup was so heavy that he was trying to act from behind a mask. I think that his portrayal may improve--I saw definite nerves there. It was wonderful to see Alex Ritter again-- I am going several more times, so hope to see more. I wish they could just cut that first act.... Oh, the music--it meanders. Not like a burbling stream, not with a lovely, lazy summer aimlessness, but like the pieces of a jigsaw puzzle that occasionally are fitted together in the beginning of a pattern or direction, but then are thrown helterskelter back on the table. It was easily the weakest element. There was a stubborn horse, and a recalcitrant donkey......something for everyone! (No jester, sorry!)

So, there are finally some current pictures in the advertising, the rehearsals are back to back, the adrenalin and hopes are high.... A rousing Bravi! to Farrell and her dancers for undertaking this mammoth work.......it may or may not be an uneven work, but uneven Balanchine is still on another level than much of the choreography being made now.....I wish them all the best and hope for a succeessful and rewarding run..... Who among us will be there? Shall we meet by the Kennedy bust before the curtain? (Other suggestions welcome!) I will be there every day but Thursday......

A great, great, beautiful man........his slow tempi were, like Makarova's, in service to a particular, rich, inner vision. I will always be grateful for what he showed me.

Keep hoping! I'm sure that touring is on the wish list for the company--it is a question of backers (what else is new!) Let's keep our fingers crossed......

No one will be leering at you..... Dancers don't usually mind---be aware, though, that they are tired and might want to be on their way home as soon as possible. Usually, they are flattered!

Thank you, thank you!!!! Please, anyone else who went: report!!!! What an unexpected bonus to see Meunier! As Giannina says, "green, green, green!!!"

I thought he was charming in this. I bought the DVD for Lesley Collier...so wonderful...sigh. The tenderness in the ribbon pdd, the fleet footwork, just wonderful. She was truly a lovely, lovely dancer....

I'm on the side of the fence with charlieloki..... I attended the Spring Gala despite misgivings and left it afterward very subdued, if not disconsolate. No Balanchine offered, no Robbins and when the best thing on the program is a P. Martins piece, there is no joy in Mudville.....

I am so grateful to you for posting this...although it makes me sad.....

Oh, it will!!!! I am thrilled to hear that it will be out in the fall for us here in the U.S. I read Once a Grand Duchess years ago and have never forgotten it.....it is available through interlibrary loan and I recommend it highly. Now back to ballet.... anyone can recommend a good/scholarly biography of Karsavina? (Other than Theatre Street...)

Perhaps it's a question of money or getting the rights..... I'm sure she realizes the draw of Balanchine in this country, especially...

Vladimir Malakhov. He looked wonderful and danced exquisitely.