BW

The author is Dan Brown. Here is a description from Amazon's pages: "In a two-day span, American symbologist Robert Langdon finds himself accused of murdering the curator of the Louvre, on the run through the streets of Paris and London, and teamed up with French cryptologist Sophie Neveu to uncover nothing less than the secret location of the Holy Grail. It appears that a conservative Catholic bishop might be on the verge of destroying the Grail, which includes an alternate history of Christ that could bring down the church. Whoever is ordering the deaths of the Grail's guardians--modern-day members of an ancient society descended from the famed Knights Templar--must be stopped before the treasure is lost forever. To do so, Langdon and Neveu have to solve a series of ciphers and riddles while evading a tireless French police commander and a ruthless albino monk. Despite being hampered by clunky flashback sequences and place descriptions that read like tourist brochures, the story is full of brain-teasing puzzles and fascinating insights into religious history and art. Ultimately, Brown's intricate plot delivers more satisfying twists than a licorice factory. Frank Sennett Copyright © American Library Association. All rights reserved"

Just got started on Homer Hickam's Torpedo Junction: U-Boat War off America's East Coast 1942 - if you haven't read his account of his West Virginia boyhood pre NASA life Rocket Boys, it's really great - even better than the movie version October Sky. Having just finished Devil in the White City, I wouldn't exactly describe it as beach reading...but maybe I didn't feel the architectural parts were real page turners, though I will say the serial murders did give it a compelling feel. ;) :eek: The Da Vinci Code sounds like a good first choice to me...something not too taxing but still a good read - perfect for whiling away the hours on a beach, a train, in a bed, or in a doctor's office! ;) P.S. Thanks for reminding me about Colin Dexter's books with Inspector Morse!

Attended today's matinee: Symphonic Dances, Sonatas and Interludes, Carousel, and Brahms-Schoenberg Quartet. Had never seen the Brahms piece before and I really enjoyed it - thought Ellen Bar was very good in "Allegro" and fell into a swoon over Jennifer Ringer and James Fayette in "Intermezzo" - my gosh, she's beautiful. Only wish I could do these ballets justice by describing the dancing the way it should be! ... Janie Taylor and Benjamin Millepied were also great together and very energetic in "Andante"...and I was happy to see some of the corps dancers get a chance to shine in this piece...for example Carrie Lee Riggins... Kyra Nichols and Damian Woetzel danced the rather tarantella-ish "Rondo all Zingarese"... Damian Woetzel always shows a lot of "character" in this sort of part and his fast footwork and cocky attitude was perfect for this role. steppas1, I wish had the wherewithal to give you the kind of description you'd really like. :rolleyes: I liked this particular piece because there was so much to it...so many different moods, great costumes, different backgrounds, and I thought the dancing was wonderful. In a way, it seemed to me to be a kind of full length ballet. Even though I know Balanchine is neoclassical, this one really did make me feel as though I were watching a story ballet - without the story - if that makes sense. I had seen Symphonic Dances before and I still liked it. Found it powerful and energetic.. "Sorry!" to all the Martins detractors. ;) Sonatas and Interludes is performed to the music of John Cage and Maria Kowroski and Jock Soto were a real juxtaposition to me...the long, legged, lithe beauty and the almost stocky, strong, dark man... Kowroski slipped and suddenly hit the floor but didn't miss a beat in her recovery. Later in the Brahms piece, Pauline Golbin also had a spill, but also recovered without any hint of it having happened. I really admire these dancers for their stamina and presence. However, my favorite was Carousel by Christopher Wheeldon with Alexandra Ansanelli and Damian Woetzel - romantic to the end. Now, I'm going to see if the issue of "Ballet Review" that I just purchased, upstairs at the NY State Theater, has more about this piece than just its cover photo of Ansanelli and Woetzel in Carousel. I know this piece has been discussed before on the board...but if you love the music by Richard Rodgers, you really ought to try to see this!

Treefrog, I think we're all so subservient here in the big city to our cultural icons that we are just thankful to get seats. ;) No, seriously, I don't blame your frustration... I thought for sure you could request orchestra, dress circle, etc.? After subscriptions are filled, the tickets go out for sale to the general public...and then it's ususally a "best available" but you should have an option to specify which part of the theater...

Thanks for your input Mahler_seele. I would have to guess that for a first time viewing watching a ballet on laser disc or any recorded material would probably be pretty boring for me, too. And I agree that there's nothing like a live performance - where you have to dancers in the flesh and the audience has its own energy as well! Though you may not live in a country where there is a great deal of ballet going on, it sounds as though you've gotten a chance to see some interesting companies in places that many of us have probably not even been to...though I suppose I should only speak for myself on this one. ;)

Caramoor is truly a jewel of a place. For those who can make it, you'll not be disappointed I'm sure. The grounds and gardens are lovely - you can spread your blanket out and bring a picnic. They may also still have food that you can buy, too. The Venetian Theater is my favorite up there and they do have a great deal of covered seating...something you might ask about when you get your tickets. Wish I could be there!

Just thought I'd bring this old thread back to life...in hopes that some of the new people on the board might wax nostalgic and feel compelled to add to this thread.

Wonderful - thank you, Alexandra.

Leigh, fear not for I am much older than you and I LOVED the Phantom Tollbooth and A Wrinkle in Time! I was also a Black Stallion seriesaholic, too. All these great remembrances make me want to reread a bunch of them. Many thanks for prodding the memory banks!

The Secret Garden, My Friend Flicka, Lad a Dog and the others by Albert Payson Terhune, To Kill a Mockingbird, Gone with the Wind and The Complete Works of Sherlock Homes to name a few. And I recall an Agatha Christie summer in 8th grade, I think. Favorite book that I remember having read to me: Scuppers the Sailor Dog

Thanks Farrell Fan. I thought that was his name but then I didn't quite recognize him as The Wolf, later on.

We attended Saturday night and were very impressed. I understand the comments about the corps in "Chopiniana" - I couldn't help but feel for them as I'm sure they'd all have preferred to be dancing a bit more. That said, Likolani Brown kept me wide awake throughout! There's not too much that I can add to the comments that have already been made... Arron Scott's boundless energy and easy manner made The Flower Festival at Genzano a favorite for all, that I am sure of. I found the Pas de Deux from Swan Lake to be mesmerizing and felt that Likolani Brown's performance belied her years in its maturity of emotion. The dancer who took over for the injured Zlato Fagundes was excellent and I'm really annoyed that I, too, have lost that little insert with his name on it! If anyone does know it, I'd really appreciate your posting it. I like to try to remember the names of these dancers as I know I'll be seeing them again in other venues. Skipping to "Aurora's Wedding" from "The Sleeping Beauty" - what can I say, my heart was stolen by Little Red Riding Hood...and The White Cat and Puss in Boots played by Miriam Rowan and Jason Chinea...though, in saying this, in no way do I mean to take anything away from the other dancers for they were all quite wonderful and really very entertaining. This was the third SAB Workshop that I've attended (missed last years) and I found it very interesting to see the students performing non Balanchine pieces. I believe that initially some people weren't too pleased to hear this but I thought it was great and proved that these dancers are much more versatile than many might think, given their SAB training. Great program - only wish I were going to tonight's too!

Thank you sissone, I've found it.

Sissone, many thanks for this bit of information...this is the kind of thing I was hoping to hear. If I might ask, where did you read this article?

Last night I had the pleasure of attending The School of American Ballet's Workshop performance...and today NYCB's matinee. Both performances were excellent. Now, where did I look and did I look at the two in different ways? At the student performance there were two dancers who I "knew" (very loosely speaking!) so I did tend to dwell on them...though it wasn't difficult as they both had leads. I admit to checking out the student dancers' feet on occasion...but generally speaking I was taken in or taken away by the performances as a whole. Today's matinee, in the New York State Theater, I did, on occasion, use my binoculars to get that close up - to see the dancers faces and their bodies up close. But the real "awakening" for me was having to sit behind a rather "tall in the saddle" audience member which was really difficult as I couldn't see the front and center dancers' feet in "Concerto Barocco"! By "feet" I don't mean only their feet but their legs! If you haven't seen this, JRB, it would probably be one you'd enjoy seeing from slightly above... Next came "Sonatas and Interludes" which consisted of only two dancers - Maria Kowroski and Jock Soto..the choreography for these two lent it self to my view of the stage so I was able to watch both of them most of the time. Luckily, I was able to switch seats during intermission with someone...and, yes, I was able then to immerse myself in the rest of the program...which both proved to be very much "big picture" ballets: "In the Night" and "Vienna Waltzes" ... So, to me, I guess much of where one "looks" has to do with what sort of ballet one is watching..and where one is sitting. However, KateB, generally speaking I'll be in in the moment, with you and, probably, most of the audience. ;) P.S. I missed Sissone's and Alexandra's posts...but want to add that "repeated" viewings do make quite a big difference - if only I were able to do it more often!

Justine, thank you so much for telling us how you found your way to Ballet Alert! I took the liberty of merging your post into this existing thread so we'd keep all our "how we got here" posts in one place. Please don't be too shy with your own thoughts - especially here in "Discovering Ballet" - we're very "safe" in here.

Many thanks to all who've posted the "how" of how they got here... It's always quite something to learn of the various threads that bring us all to this place. Here's to the inventor(s) of the Internet! I believe this has to be a posthumous "toast" but neverthelss it's a wonderful tool that still has much to be discovered... Let's just hope the government doesn't want to regulate it! ;)

I've read everyone's posts. I attend both ABT and NYCB performances when I can.... and, guess what? I like them both for different reasons - just the same as I, sometimes, dislike them both for just as different reasons! How's that for bland diplomacy? Yes, I love many aspects of ABT's performances but I couldn't take a steady diet all the time, I don't think... And I'll be daring and say it: I enjoy much of what I see at NYCB! Granted, there will always be certain ballets that just won't do it for me - but that's par for any ballet company course. I don't have the historic insights that many have , nevertheless - I, too, have my likes and dislikes with both companies. One thing I am sure about is that I'm really glad I have two major ballet companies that I can see pretty regularly all year.

You might want to check out today's links forum.

If you live in the NY metro area - quick turn it on right now!

:rolleyes: Nope, you're right - my mistake!!:eek: Thanks for the background info on Ms. Ellison, though!

Dale, do you happen to know if Nancy Ellison is related to Ashley Ellison? Ashley Ellison is in their Studio Co. unless I'm wrong and she's now in their main company...

Wow! We'd better make sure Treefrog hears about this and hope she's sitting down when she does! ;) Great news!

Well, grace, I don't remember but that means almost nothing ;) - since I probably didn't read that thread! My point in initially starting this thread on Discovering Ballet was to engender conversation about what it involves to stage a ballet...and the "requirements" of doing this...if any. The tangent it's gone off on is fine...but just had to throw this in so you wouldn't think all of us had early onset dementia! ;) Let the conversation continue.

Well, I appreciate all the comments! I realize my main post does open itself up to many responses - but that's great! The more the better - any creative process will be "different" for each artist.. yet, I do appreciate the specifics. As this thread has gone off on the Fokine tangent... is Christine Fokine related to THE Fokine? My daughter's current school - Ballet Academy East was originally Christine Fokine's school on the upper East side and I'm just wondering if there is a connection? Three years ago when I attended the YAGP at Fordham, I was introduced to a Madame Fokine and I knew it was a name that should strike the proverbial chord but wasn't quite sure if how she was related. At the time, I would hazard a guess that she was in her late 70's or more...very petite, too.