KayDenmark Posted July 21, 2006 Share Posted July 21, 2006 Hopefully, it won't be set in Denmark... Sadly, Denmark has just had a "Romeo and Juliet" style murder of a young girl who picked a partner her parents didn't approve of. The judge ended up sending nine people in her family to jail for conspiring to kill her and the boy, who was only wounded. In other words, Martins could set "R&J" in Denmark in the present day and still have it be accurate and relevant. Link to comment
Alexandra Posted July 21, 2006 Share Posted July 21, 2006 Amy,Tudor's R&J is set to pieces by Delius. The music is much more gentle than the Prokofiev. You are correct, it is one act , about 1 hour. When I saw it , it was on a bill with other pieces. I wonder how audiences today would take to it, it's more abstract than the versions more commonly done today. Richard Hmm. A one-act, "more abstract" version. What a novel idea at NYCB I did see it, Richard -- with not a great cast, unfortunately, so it dragged a bit, but I'd love to see it again. It was more abstract -- or, at least, not realistic, which, to me, is a plus. No fruit throwing, or shooting the bird on the part of the peasants, a real sense that this was taking place in the Renaissance. SOMEONE should revive it! Link to comment
Hans Posted July 21, 2006 Share Posted July 21, 2006 Maybe Joffrey could revive it. Glebb, are you reading this thread? Link to comment
Dale Posted July 21, 2006 Author Share Posted July 21, 2006 Or New York Theatre Ballet, which has done such wonderful work bringing Tudor ballets to the stage. Link to comment
Andre Yew Posted July 21, 2006 Share Posted July 21, 2006 A number of story ballet-oriented companies have learned to dance Balanchine well, so why can't NYCB learn to dance story ballets well? I love the Prokoviev R&J score, too --- it's so inventive, thematically as well as technically, and runs the full gamut of emotions. My favorite staging of it so far is Cranko's -- the Macmillan has wonderful moments but is diffuse and episodic in whole. --Andre Link to comment
glebb Posted July 22, 2006 Share Posted July 22, 2006 Sorry Hans. Just saw your post. It is my understanding that the Tudor Trust does not think his Romeo and Juliet can be revived. I would think it possible. I saw ABT perform it in the mid 70s at State Theatre and it was just very gorgeous. But the top people of the Tudor Trust tell me no, not possible. How fun would it be for Joffrey to have it. First Oscar Ariaz, next Cranko (which we revived again last year) and finally Tudor. I count myself lucky to have worked with Tudor three times. Link to comment
Hans Posted July 23, 2006 Share Posted July 23, 2006 That's surprising and unfortunate. Link to comment
Alexandra Posted July 23, 2006 Share Posted July 23, 2006 Sorry Hans. Just saw your post.It is my understanding that the Tudor Trust does not think his Romeo and Juliet can be revived. I would think it possible. I saw ABT perform it in the mid 70s at State Theatre and it was just very gorgeous. But the top people of the Tudor Trust tell me no, not possible. How fun would it be for Joffrey to have it. First Oscar Ariaz, next Cranko (which we revived again last year) and finally Tudor. I count myself lucky to have worked with Tudor three times. I agree, Glebb. I can't believe this isn't revivable. The Ashton people said that "Dante Sonata" and "Enigma Variations" weren't revivable, and dancers proved them wrong. There must be dozens of people still alive who remember that ballet, and there must be work tapes. (I saw it in the mid-70s too, 1976 to be exact. Nearly everyone in that cast is still working.) Link to comment
Leigh Witchel Posted July 23, 2006 Share Posted July 23, 2006 Ca. '97 I spoke to someone at ABT, asking about the possible revival of the Tudor R&J. They would be the logical company to do it; it was made on them. The obstacle mentioned was not choreographic, but logistical. Though they do not look damaged on display, the costumes are too frail to be worn, so a new production would have to be built - at that time estimated at about $500,000. Checking the NYPL catalog there are a few excerpt recordings available - one is 33 minutes - my guess is there have to be records of this. Link to comment
papeetepatrick Posted July 24, 2006 Share Posted July 24, 2006 Checking the NYPL catalog there are a few excerpt recordings available - one is 33 minutes - my guess is there have to be records of this. If you're talking about the Prokofiev, most of the recordings I've found are excerpts, even though there is a Liverpool one that is pretty extensive. The best way to hear the score in its entirety if all different parts need to be chosen from for whatever reason, is to get the DVD or VHS of the Czinner film with Nureyev and Fonteyn, because in that nothing important is left out. (and not watch it if that is distracting.) There are probably some complete CD's of the complete score, but I'm not aware of them; it's mostly a matter of orchestral suites. Link to comment
Hans Posted July 24, 2006 Share Posted July 24, 2006 I was under the impression that Leigh was referring to the choreography...? I've found the Prokofiev music to be pretty readily available. Link to comment
carbro Posted July 24, 2006 Share Posted July 24, 2006 I read Leigh's post to mean video recordings of the Delius/Tudor R&J, with not a note of Prokofiev. If one segment is listed as 33 minutes in length, that should be a pretty complete -- if not completely complete -- tape. I saw that piece once, in the mid-70s. It would, indeed, be sad if it were irretrievably lost. Link to comment
papeetepatrick Posted July 24, 2006 Share Posted July 24, 2006 yeah, I didn't think that sounded quite right. Thanks. Surprisingly, the prokofiev complete is not all that easy to find. For just listening, they usually cut it a good bit, and that's understandable. I might want to listen to the Delius myself, not having known of it. Link to comment
richard53dog Posted July 24, 2006 Share Posted July 24, 2006 yeah, I didn't think that sounded quite right. I might want to listen to the Delius myself, not having known of it. The Delius pieces Tudor used are: A Walk to Paradise Garden from A Village Romeo and Juliet, Eventyr, Over the Hills and Far Away, Brigg Fair. Dorati made the arrangement. All this discussion has made me nostalgic to see the piece again but from Glebb's and Leigh's comments , it doesn't seem promising. The sets and costumes were beautiful; Eugene Berman did a lot of wonderful work and this was really lovely. Richard Link to comment
papeetepatrick Posted July 24, 2006 Share Posted July 24, 2006 The Delius pieces Tudor used are: A Walk to Paradise Garden from A Village Romeo and Juliet, Eventyr, Over the Hills and Far Away, Brigg Fair. Dorati made the arrangement.Richard This will help quite a lot. I do know 'Brigg Fair' and a few other Delius pieces. They'd be lovely to hear in late summer--Delius is quite irresistible for the pastoral dream they bring. The Tudor ballet does sound like it would have been wonderful. Link to comment
Dale Posted November 17, 2006 Author Share Posted November 17, 2006 From the company: NEW YORK CITY BALLET TO PRESENT THE WORLD PREMIERE OF A FULL-LENGTH PRODUCTION OF ROMEO AND JULIET Choreographed by NYCB Ballet Master in Chief Peter Martins, the Production Will Feature Dancers, Students, and Faculty from New York City Ballet and the School of American Ballet as Part of NYCB’s Centennial Tribute to Lincoln Kirstein, Co-Founder of Both Organizations For the 2007 Spring Season, New York City Ballet will present the world premiere of a new full-length production of Romeo and Juliet, choreographed by NYCB Ballet Master in Chief Peter Martins, and set to Sergei Prokofiev’s classic score. The production, only the ninth full-length work to enter the Company’s repertory, will premiere at NYCB’s annual Spring Gala on Tuesday, May 1, with a total of 14 performances through Sunday, May 12. The ballet will be the centerpiece of NYCB’s spring season celebration of the centennial of Lincoln Kirstein’s birth. Kirstein, who was born on May 4, 1907, co-founded NYCB and the School of American Ballet with George Balanchine. For this production Mr. Martins will feature not only the dancers of NYCB, but also students and faculty from SAB. “While Lincoln was a towering figure in a number of cultural arenas, the organizations that were nearest and dearest to him were New York City Ballet and the School of American Ballet, so it seemed only fitting to honor his centennial with a production that unites and celebrates both of these organizations,” said Mr. Martins. “It was also Lincoln who encouraged me to create The Sleeping Beauty in 1991, and knowing how much that production meant to him, I hope he would have been equally pleased with the addition of this timeless story, and Prokofiev’s glorious score, to our repertory,” Mr. Martins added. Mr. Martins’ production of Romeo and Juliet is the second Shakespearean classic to be made into a full-length ballet for New York City Ballet, the first, A Midsummer Night’s Dream, was created by George Balanchine in 1962. The sets and costumes for Romeo and Juliet will be created by Danish painter Per Kirkeby, who previously collaborated with Mr. Martins on the 1996 production of Swan Lake for the Royal Danish Ballet, which entered NYCB’s repertory in 1999. Born in Copenhagen, Mr. Kirkeby is a painter, geologist, writer, poet, sculptor, filmmaker, and scenic designer. His works have been exhibited at numerous galleries and museums throughout the world including the Museum of Modern Art, the Whitney Museum of American Art, and the Michael Werner Gallery in New York City; the Tate Gallery and Barbican Art Gallery in London; The Royal Museum of Fine Arts in Copenhagen; and the Venice Biennale, among others. His works also figure prominently in numerous private collections throughout the world. While Romeo and Juliet will be only the ninth full-length ballet to be performed by New York City Ballet, best known for its neoclassical plotless works, the Company’s diverse repertory is also home a number of story ballets, both full-length and one-act, most notably George Balanchine’s The Nutcracker™, a beloved classic which has become a staple of the holiday season since its premiere in 1954. Lincoln Kirstein (May 4, 1907 – January 5, 1996) was born in Rochester, New York, and is widely acknowledged as one of the most important cultural figures of the 20th century. George Balanchine’s arrival in America in 1933 was made possible through Kirstein’s efforts, and together the two men founded the School of American Ballet (1934) and New York City Ballet (1948). Kirstein was also a writer, impresario, and art connoisseur, and the English dance critic Clement Crisp has written that he “was one of those rare talents who touch the entire artistic life of their time.” New York City Ballet will celebrate Kirstein throughout the 2007 Spring Season with performances, an exhibition at the New York State Theater, and two Monday evening seminars focusing on his life and work. New York City Ballet’s 2007 Spring Season will open on Tuesday, April 29, and continue for nine weeks through Sunday, June 29. Complete programming for the season will be announced at a later date. Subscription tickets for the 2007 Spring Season will go on sale in mid January. Support for Peter Martins’ new production of Romeo and Juliet will come from a variety of sources. Funding to date includes a lead gift from Mr. and Mrs. Howard Solomon and a major commitment from Mr. and Mrs. Stephen A. Schwarzman. New York City Ballet is grateful for their generosity. The creation and performance of works by Peter Martins is also funded in part by an earlier endowment gift from the Solomon family, given in loving memory of Carolyn B. Solomon. Support for new work is also provided by The Irene Diamond Fund, the Lila Acheson and DeWitt Wallace Endowment Fund, and NYCB’s New Combinations Fund patrons. Link to comment
sz Posted November 17, 2006 Share Posted November 17, 2006 [The sets and costumes for Romeo and Juliet will be created by Danish painter Per Kirkeby, who previously collaborated with Mr. Martins on the 1996 production of Swan Lake for the Royal Danish Ballet, which entered NYCB’s repertory in 1999] Ugh! Why R&J at NYCB?! Will Manon be next?! Or Othello?! Please..... If it's lots of dancing we expect (want!!) to see at NYCB, and also pack the houses for a new full-length attraction.... why not bring in a fresh, beautiful Cinderella, without Kirkeby's paintbrush, and put to shame that horrendous Kudelka version at ABT. Link to comment
Alexandra Posted November 17, 2006 Share Posted November 17, 2006 Oh, Manon is too good. New choreography, or the classic version? Anyone want to take a stab at the casting...... Link to comment
volcanohunter Posted November 17, 2006 Share Posted November 17, 2006 For the 2007 Spring Season, New York City Ballet will present the world premiere of a new full-length production of Romeo and Juliet, choreographed by NYCB Ballet Master in Chief Peter Martins, and set to Sergei Prokofiev’s classic score. The production, only the ninth full-length work to enter the Company’s repertory, will premiere at NYCB’s annual Spring Gala on Tuesday, May 1, with a total of 14 performances through Sunday, May 12. Why?!!! Oh, the horror, the horror of it all... Link to comment
carbro Posted November 17, 2006 Share Posted November 17, 2006 Might not be so bad. I'm just thinking of Martins' ability to depict different moods, and he's so good at rage. R&J brims with rage. And as the press release says, the score is "glorious." Link to comment
volcanohunter Posted November 17, 2006 Share Posted November 17, 2006 Might not be so bad. I'm just thinking of Martins' ability to depict different moods, and he's so good at rage. R&J brims with rage. And as the press release says, the score is "glorious." Unlike some, I don't object to the music. There is a particularly wonderful moment in the balcony scene in which Prokofiev manages to convey the idea that "the earth moved" more convincingly than in any other piece of music I've ever heard. I have grave doubts about the ability of most NYCB dancers to put this sort of ballet across dramatically. It's not that I think that American dancers are inherently incapable of acting, it's just that they often don't know how. Years ago I remember reading an interview with Simon Callow in which he was asked whether, as an actor, he found the acting abilities (or lack of them) of singers frustrating to deal with when staging operas. He said that in his experience singers were not hostile to the idea of acting, but most of them had simply never been trained to do it. I don't think it's a coincidence that ABT, whose bread and butter is full-length narrative ballets, has a roster of principals made up predominantly of foreigners. When watching American dancers perform narrative ballets, particularly of the fairy-tale variety, I often get the feeling that they're vaguely embarrassed to be portraying a fairy queen, pirate or bluebird. Europeans and South Americans don't seem to have the same sort of hang-ups. I think it's unreasonable to ask dancers who are usually asked to make the projection of their personalities secondary to the projection of choreography and who are discouraged from "emoting" in plotless ballets to suddenly produce fully realized, flesh-and-blood characters on stage. I have even greater doubts about Martins' ability to choreograph a piece like this. I wouldn't go so far as to say that his production of "Swan Lake" is the worst I've ever seen (I'd give that booby prize to James Kudelka's production for the National Ballet of Canada), but I tried watching it again just the other day and didn't make it past the second act. Sure, there was lots of dancing--too much, I'd say--but there was absolutely no dramatic focus. And what could possibly be gained by presenting a new "Romeo & Juliet" in the same season ABT will be performing its production? I can only see NYCB's ballerinas suffering in comparison with the likes of Alessandra Ferri and Martins suffering in comparison with MacMillan (though personally I prefer the Cranko and Neumeier versions of R&J). I really don't see the point of NYCB transforming itself into a pale imitation of ABT. Link to comment
Farrell Fan Posted November 17, 2006 Share Posted November 17, 2006 The press release is as awful as this ill-conceived project threatens to be. This does no honor to Lincoln. Link to comment
sz Posted November 17, 2006 Share Posted November 17, 2006 [....what could possibly be gained by presenting a new "Romeo & Juliet" in the same season ABT will be performing its production?] That was the point I was trying to make. There isn't one good reason, I can think of, for NYCB to transform itself into any imitation of ABT especially during the Spring Season when ABT and NYCB share Lincoln Center at the same time. Where is Jewels when you need it???!!! One company only please!!! However, I do think there is much appeal for full lengths at NYCB's Saratoga (SPAC) July season because ABT doesn't tour there.... Link to comment
Leigh Witchel Posted November 17, 2006 Share Posted November 17, 2006 Great. Another story ballet for a company of non-actors. Chalk me up as well as another completely baffled as to how this honors Lincoln Kirstein. If you're going to honor Kirstein, please honor him with something that had some association with him, not something you were planning to do anyway and his birthday happened to fall in the same year. Maybe they could get Eifman to come in and do another bio-ballet. Link to comment
volcanohunter Posted November 18, 2006 Share Posted November 18, 2006 Maybe they could get Eifman to come in and do another bio-ballet. Ooh, now there's an idea. Boris Eifman does the life story of Lincoln Kirstein... Link to comment
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