BW

Since this weekend YAGP is beginning their final phase, I can't help wondering if anyone will decide to post their impressions of this year's competition. From looking at their website, it certainly does seem more organized this time around. I am hoping to make it in if I can just to take a look - especially at the senior finalists if possible. I can't help but wonder if Aubri or any of the other posters, or readers, here are having any of their students attend this year... I hope if they do that their experiences this time will be better and that we might hear about them, too. Archaeo, I just noticed that no one addressed your question about buying tickets! The answer is yes - at the door at Fordham University right next to Lincoln Center. If you go to the YAGP website they have posted the schedule of events. There is also a telephone number and they are quite good about returning phone calls ASAP!

Hate to show my ignorance but since we are on this particular forum, I'll plunge ahead:) Who is Gerald Arpino? And what did Keith Young choreograph that got panned in NY and when? Do I take it that you who've written about these two have been sitting near them as members of the same audience? Thanks!

Hate to show my ignorance but since we are on this particular forum, I'll plunge ahead:) Who is Gerald Arpino? And what did Keith Young choreograph that got panned in NY and when? Do I take it that you who've written about these two have been sitting near them as members of the same audience? Thanks!

Thanks Mel - I knew I could count on you! I think the most recent Hamilton Fish VI did run or at least he thought about running for something about 14 years ago, as I met him once way back then under "political" circumstances. OK, back to the discussion as to whether or not ballet tends to avoid the "darker" issues or lightens them instead of taking them head on. Leigh what about some of Eifman's ballets - do they delve into the dark side more often than not? This makes me think about another thread dealing with ballet's supposed inability to deal with psychological nuance and/or subplots that are wrapped in the heavy velvet of Freudian drapes. ;) Not having seen The Legend of S. H., in ballet form, I can't comment on this particular one but I do hope that we will hear from Obbligato, Lilliana and even BalletNYC, himself! But as Leigh asks: My first reaction is that I never really thought about ballet portraying "ideals" best. I must go back to my analyst's couch and ponder this, along with the nobless oblige of the Fish Patriarchy! ;) I promise not to derail this topic again!

But as Leigh asks: My first reaction is that I never really thought about ballet portraying "ideals" best. I must go back to my analyst's couch and ponder this.

Just a quick one, Mel, is Nicholas Fish a paternal progenitor of Hamilton Fish? Twice removed?;) OK, now I, too, will go back to thinking about Leigh's question.

This is getting better all the time! Should I read the book, the libretto, or see the movie? ;) Seriously, where does one glean all this information? I admit I'm totally ignorant of Lohengrin, however I am enjoying everyone's posts very much!

Mel, I didn't know that Irving bought Sunnyside from the van Tassels!! Washington Irving's house Sunnyside is right out of a "story book" - I would describe it as having a sort of cheery, Gothic appearance and to add to its charm, it's covered with Wisteria! Lilliana thank you for coming over here with your cast info. You're right, you are the one I was thinking of. I'm still wondering about Ichabod, Katrina and Brom - what is the true story? So, then I am right that Brom was already involved with Katrina when Ichabod came along and her parents tried to set him up with her? Sorry, if this is beginning to sound like a soap opera... ;) After reading about this new ballet, I am really hoping that the rest of us will have a chance to see it sooner, rather than later! P.S. Here is a link I found on another thread about this ballet: http://www.pennlive.com/events/patriotnews...03582650438.xml

Excellent post you gave us that link to Alexandra! Very, very interesting to hear from the choreographer how it all unfolded for him. Thank you! Obbligato, I can just hear the hoof beats! As for the "unlikely twist" part of the plot...I'm confused, wasn't the Headless Horseman always Katrina's other suitor trying to scare off Ichabod? Or is my Walt Disney version clouding out Washington Irving's original tale?:eek: I know that there is at least one other poster here, who had the good fortune of seeing this performance and I am hoping she will add to this thread.

Alan, thank you so much for your very interesting play by play on putting together The Legend of Sleepy Hollow - I've always loved that tale...saw it advertised in Dance Magazine, heard about it through a friend and would have loved to have driven down to see it but it was just a bit too far for an evening's visit. It seems to me that it would be a perfect story to use for ballet - and I think your idea about drawing people to ballet and giving them a gradual education by exposing them to stories that will entice them and then teach them that there is so much more going on in this art form. As you wrote: Please keep us posted, and as Leigh urged - keep on posting on here! It's very exciting to hear firsthand from someone who in the process of doing this kind of work. Many thanks! P.S. Just so you know there is a bit of a dicussion going on about this over on the Discovering Ballet Forum.

Good for you, Felursus! A dog lover at heart? I've been chased by a swan while rowing in a pond and had to brandish one of my oars to scare the large, angry fellow off! However, I still think they're beautiful and they do mate for life.

Obbligato, thank you so much for writing about this performance - I think this legend would be wonderful to see! How did they do the headless horeseman?! Thanks Alexandra for that link to the choreographer's own thoughts! I'm heading over there now. What could be better than to read his thoughts without anyone's editing but, perhaps, his own! Dance history in the making.

Ari, I really don't think that the Trocks want us to take them seriously in that sense. To me, they are (for the most part) seriouslyfunny. If on the other hand, as Leigh seems to be implying, these dancers truly wish that they were women and that what they really wish is that they could be ballerinas en pointe...well, then I can see how this might make one sad. Since I don't know any of these fellows, I cannot speak to this possible psychological aspect - I hope for their own sakes that this is not true - instead, I will continue to enjoy their poking fun at the sacred.

I think I would pick Paris in 1910 - only because I think I'd prefer the modern conveniences.;) This is really a hard one, because I would love to go to St. Petersburg as well... maybe I can use my frequent flyer miles?

I think I would pick Paris in 1910 - only because I think I'd prefer the modern conveniences.;) This is really a hard one, because I would love to go to St. Petersburg as well... maybe I can use my frequent flyer miles?

,Very difficult indeed. I think I'll take Paris:) - and hope it won't be my only chance!

,Very difficult indeed. I think I'll take Paris:) - and hope it won't be my only chance!

I have to say that I throw my lot in with Doris R. and if I'm really unimpressed, I try to imagine myself up there doing whatever it is that they were doing.:eek: All right, the truth be known, I do withhold my applause on occasion. The whole idea of booing a performance reminds me of a scene from Fellini's Satyricon, or perhaps big time wrestling.

I have to say that I throw my lot in with Doris R. and if I'm really unimpressed, I try to imagine myself up there doing whatever it is that they were doing.:eek: All right, the truth be known, I do withhold my applause on occasion. The whole idea of booing a performance reminds me of a scene from Fellini's Satyricon, or perhaps big time wrestling.

Thank you, Victoria. I appreciate hearing your own story, as well as those of the others you mentioned. I suppose I was wondering if today's version of ballet had added to the early retirement of various dancers - and I didn't realize that there were so few from the past who stayed on past their mid thirties. It is wonderful that you had the training beforehand and that you were able to follow through and turn it into a second career that you obviously love. That's a silver lining, if ever I heard of one!

In several different areas on the board, there have been topics in which the age of a dancer has come up. Most often it seems to me that people comment about the inappropriateness of seeing someone too young perform a piece that was made for an "older" more seasoned ballerina....and I would assume that this can hold true for a young male ballet dancer, as well. Then there is the question as to when it's time for someone to bow out of major roles, let alone stop performing altogether. Is it usually due to injury? Strength? Cultural preferences in regard to appearance? Isn't retirement from the big name companies different from retiring from dancing completely? And isn't the age factor going to be somewhat dependent upon the sex of the dancer? I happened to be browsing through a bookstore today and read some of Arlene Croce's comments on ballet dancer's retiring in her book (the title escapes me right now) - you know the one that is a collection of her critiques from her days with The New Yorker? According to Ms. Croce, ballet dancers used to perform until they were in the fifties. So what's the explanation here? Granted some may choose to retire "to be with their families" and this may actually be true quite often... Thoughts, opinions, firsthand experiences - anyone?

Calliope, this question is sure to bring all sorts of responses! Before I sit back, relax, and wait for the deluge, I will just say that a ballet is successful to me when I enjoy it for its beauty, excitement and or, pathos. Ultimately it is when I forget that I am sitting in a theater seat somewhere!

Usually one can change the tickets after a certain period of time either in person, or through the mail...and I believe if one is a member of a certain level, one may even be able to call to change one's tickets. In my most recent case, I had to either mail in the old ones with several choices for alternate dates, incur a handling fee per ticket, or go to the box office. Keep in mind, that both of these avenues are also usually subject to certain dates. As far as I know, no company will allow you to get your money back if you suddenly can't make it to a performance. However, you can make it a charitable contribution! The pros of subscribing are getting the best seats. I had great seats for this coming season....now my new seats aren't so wonderful...because they'd opened up the performances to everyone quite a while ago.... So to hedge your bets, read the details carefully!

Although I have tuned in rather late to this discussion, I wanted to say how much I've enjoyed reading everyone's posts. At times, I've had to reread sections and probably should again but the main thing, is that I found it thought provoking. I think Drew's points about academic integration of the study of ballet is an excellent one. Having been a fine arts major, I had many art history courses...I also took as many English literature courses as I could...but one of my favorite courses of study was one that integrated all the arts and the politics of a certain time in order to allow us to see the connections between the different forms of expression that were going on. It was wonderful, though I have to admit it did not include dance. In a broader sense, this brings us back to the importance and necessity of including all the arts in education - which is what a liberal education is all about, isn't it?

Although I have tuned in rather late to this discussion, I wanted to say how much I've enjoyed reading everyone's posts. At times, I've had to reread sections and probably should again but the main thing, is that I found it thought provoking. I think Drew's points about academic integration of the study of ballet is an excellent one. Having been a fine arts major, I had many art history courses...I also took as many English literature courses as I could...but one of my favorite courses of study was one that integrated all the arts and the politics of a certain time in order to allow us to see the connections between the different forms of expression that were going on. It was wonderful, though I have to admit it did not include dance. In a broader sense, this brings us back to the importance and necessity of including all the arts in education - which is what a liberal education is all about, isn't it?