BW

Just to add another "vote" to the recent judgement call at The Olympics, I cast my lot with the Russian pair. Although the Canadian duo obviously are their own 'Love Story' and did not have any noticeable flaws to someone like me, I still found the Russians to be more exciting and compelling.

Unfortunately now we have to have the follow-up news about the judges being unfair, etc. Don't get me wrong, I'm sure the judges do make mistakes...as to err is human, but it makes me sad when the media picks up on some of this stuff and magnifies it. A silver medal at The Olympics is nothing to be too upset about.

Oh come on Leigh, you can't leave us hanging like that! Tell me more...please?

They really didn't mention her CPYB training?!?! I thought it was a given that everyone knew she'd trained there!

A number so CPYBers have attended SAB at an older age...closer to 16. I know of one who is now with Miami City Ballet.

CPYB does appear to run a very good year 'round program. The only negative I've heard from a mother of alumni is that the teachers are, in general, not particularly "warm".

Although I cannot comment on Lucia Lacarra's abilities, as I have never had the opportunity to see her - nor, sadly, can I afford the performance on 2/11...

However, I would like to applaud the quote from Dr. Carlo Bugatti, medical officer of the Lausanne Competition. Thank you Katharine!

Perhaps this quote would be a jumping off point for another topic altogether? Maybe it already has been? This subject of extreme technique, as opposed to more classical technique, seems to be on everyone's lips these days. Just last week, this very topic came up in a conversation I was having with two professional dancers - both of whom warned of the tolls visited upon the bodies of many of the NYCB dancers who no longer could perform due to hip problems, etc. These are not older people who are getting hip replacements - these are people in their 30s and 40s! Fortunately for Ms. Lacarra is sounds as though she won't be one of them.

Last night I had the pleasure of attending NYCB's performance. Rather than attempt a review, as I know others are quite prolific, instead I ask this question:

Why is it that too often, from my point of view, the NYCB chooses clashing color combinations for their dancers? Specifically why last night in Jerome Robbins' wonderful "I'm Old Fashioned" - which is really the height of sophistication a la Fred Astaire - do they distract from the dance by having the brown pants on their male dancers with off white shirts - I can't even remember whether Maria Kowroski was wearing yellow in that scene or not?!

There were numerous other examples that were more jarring - I realize some people besides Ronald Reagan like brown but the ensuing production was filled with weird, and "tired" color combinations, except at the end where we were blessed with classical black and white with the backdrop of Fred Astaire and Rita Hayworth dancing "cheek to cheek"!

I wish I'd written down the "offending" color combos so I could be more specific - but I'm sure any of you who have attended various performances know what I mean. I find it distracting to be looking at the color of Philip Neal's pants and thinking how it doesn't look good with his cummerbund...which looks really bad with the color of his partner's dress... Maybe I'm too picky - - however, I did hear others discussing this afterwards...though EVERYONE loved the performance especially the last scene!

[ February 03, 2002: Message edited by: BW ]

Why is it that this competition is not shown on television here? I just don't understand it. Does it all come down to advertising dollars?

There are so many people who would love to see this! I've tried looking at in on my computer but it just isn't any good...perhaps it's because I don't have a DSL line.

Great to hear from you aubri. It's wonderful to read some first hand imformation.

Would you say that the various styles of training that you mentioned were combined in the style of training that you received while studying at the Paris Opera Ballet?

I am not well-versed in the different styles mentioned. I do, however, look at my daughter's Technical Manual of Style book and see the differences - albeit they're drawn in stick figures!

I was there too, and although I cannot possibly speak about ballet on the same level as you two, I figured I should chime in as one of the less knowledgeable in the audience and, yet, one just as interested.

Sonnambula - a bit of a gothic tale it seemed to me. I couldn't help but think of Leigh's post about the sleepwalker coming out with the deadly weapon, her nightgown spattered with the Poet's blood... I wish I had seen the version Manhattnik saw long ago... I still enjoyed seeing it.

As for The Four Temperaments, it is just not my kind of piece - I admire their abilities but I didn't care for it...maybe it's because according to the Dead Russian Test I am the real Pyotr Chaikovsky!

As to the final piece - I loved the first two movements. I was quite surprised that in the first one, no one had pointe shoes on! I found it beautiful and moving...However the next part really made an impression on me - was it the dancing, was it the costumes, the hair, the music - or all of it as it was woven together? Rachel Rutherford was mesmerizing...to me, more so than Janie Taylor in the third movement.

As for Abi Stafford and Damian Woetzel, I enjoyed their performances but I did feel that her personna was not as intense or magnetic as I would have expected...But hey, who am I? She was still absolutely incredible! Damian did a great job by helping to balance things out...and I have to say that I thought the corps did a very good job...I especially liked the men and thought they did a great job both with timing and energy.

A night well spent.

[ January 20, 2002: Message edited by: BW ]

As strictly a voyeur, I've never really enjoyed watching "ice dancing" anywhere near as much as "figure skating"... Don't mean to denigrate it as a sport or nonsport; it just doesn't thrill me to the bones, the way figure skating does. Being a couch potato as I watch these things means I need all the excitement I can get!

Thanks Samba for answering my question...maybe I'll find a post-Christmas sale! Love the other reasons you bought it!

I think you've hit on it, Vagansmom! "Coltishness" is the right word - I am wondering if because she is tall(or appears to be) that this might be a growth spurt thing...just like what can happen to dancers?

I'll await the experts.

I just finished watching tonight's Women's program - they were all, obviously, very good.

I am not a skating aficionado by any means, yet I couldn't help but be glad for Michelle Kwan - I guess I always like it when someone who's been competeing for the longer time wins...and the fact that she chose to do it without her longtime coach was pretty inspiring too.

No question that Sasha Cohen is terrific for all the reasons you all have cited, and I felt really badly for Nikodinov(sp?) - I happen to think her ballet moves were beautiful - her upper body and arms were obviously Bolshoi inspired...

However, oddly enough, I really am very taken with Sarah Hughes - even though I do see a bit of that "gawkiness" that you refer to Jeannie...I can't help it but I think she's refreshing to watch. She may not be so completely "finished" as some of the others but to me her natural enjoyment is a major plus...She's only 16 but there is something special about her in my eyes...we shall see.

They all did very well and I enjoyed watching!

Because I really like to be sure of these sorts of tests and the fact that they go into my KGB dossier, I took it twice.

I am either Stravinksy or the real Pyotr Chaikovsky...you choose!

[ January 12, 2002: Message edited by: BW ]

Because I really like to be sure of these sorts of tests and the fact that they go into my KGB dossier, I took it twice.

I am either Stravinksy or the real Pyotr Chaikovsky...you choose!

[ January 12, 2002: Message edited by: BW ]

I've always assumed that dancers entered them for two reasons: to be seen and to hopefully get a position within a company.

But what do I know? Not much, I can assure you but I will be interested to read the posts that follow!

And then there are the different "levels" of competition...

[ January 12, 2002: Message edited by: BW ]

Just an aside here:

Never did I expect that my POB question would spark such a lively and interesting conversation!

Many thanks to you all - you are so well-versed and such good writers that it is a real pleasure to read your posts as well as your witticisms!

Many thanks for your posts Estelle...and for another point of view, as well.

I had the pleasure of seeing it at last year at the SAB workshop performances and loved it - and I don't think I was prejudiced by the fact that my cousin's daughter was in it! If memory serves me well, it was my favorite that night and the dancers appeared to love every minute of it! Melissa Barak seems to be a very talented and creative young woman.

It would be interesting to note the differences between the SAB performance and the NYCB's...

Whenever I have seen the Spring Workshop performances they've been full of electricity and joy.

Merci, all.

Would someone mind giving me an overview of the Paris Opera Ballet - as relating to a bit of history but more in re their style of dancing?

Thanks!

We were there last night to...where for were't thou, Juliet?

I enjoyed Mozartiana - never having seen it before, I cannot comment on comparisons. I only know what I've read about it in Suzanne Farrell's autobiography.

Polyphonia was interesting - yes, I admired Whelan and Soto in their moves but I can't say that I liked it...on the other hand Ansanelli and Hall were a true pleasure for me.

And now to Four Seasons - really can't add much of anything to what you two have written except I might lean a little more towards Sned's review.

Ulbricht did a great job - very "puckish" in his approach...but my first joy was to watch Jennifer Ringer in Spring...when, ultimately, I fell in "love" with Alexandra Ansanelli in Fall. She was amazing - pure, unadulterated enjoyment.

Damian Woetzel and Daniel Ulbricht were both exciting in their own distinct ways.... and I agree that Stuart Capps and his other Spring corps members added tremendously to Spring in their own obvious enjoyment of their roles!

[ January 07, 2002: Message edited by: BW ]

Kevin, I wouldn't want to disparage The Moscow Classical Ballet unless I knew for sure that is whose company we suffered through!

The program was pretty skimpy; the music was recorded (OK, I know so was Stanton Welch's for his "Long and Winding Road" with ABT's Studio Co., but still!)

It reads: Akiva Talmi presents Moscow Ballet's Great Russian Nutcracker Choreography by V. Vainone and Valery Lantratov.

"Masha" was plyaed by someone named Tatiana Predeina or it could have been Oxana Demchenko - there's no way of knowing because the program didn't specify!

I'll spare you the rest. I just want to be sure who I am talking about...so in the future I will know what or who to avoid!

Just FYI it sure was not The Moscow City Ballet!!

Sadly, it was a real let down. C'est la vie.

Thank you Alexandra for your very helpful explanation. It certainly makes sense that a dancer might want to choose to dance a piece that makes the most of their individual abilities as well as their personas.

[ December 30, 2001: Message edited by: BW ]

Just happened by a ballet store in the city and scooped up Raymonda by The Bolshoi with Ludmila Semenyaka, Irek Moukhamedov and Gedeminas Taranda - with Yuri Grigrovich directing.

It turns out that my daughter and seven others are actually doing "variations" from the first Act. There will be four doing solos - my daughter's is the first soloist who starts in tendu back, arms in fourth, right arm up, left arm down in that scene that happens when the White Lady appears but before the seemingly evil Eastern Knight appears...

Would someone kindly explain to the uninitiated what "variations" means? and does it have several meanings? I thought it meant excerpts of different dances from a ballet...is this so? Do choreographers who are restaging ballets often change things here and there to suit dancers?

It certainly is one of the more "theatrical" ballets that I've seen...although I suppose all story ballets are theatrical...this one just seems more intensely "dramatic". I have to say that the quality of the video isn't the best...and I'm sure it looked better in real life!