kfw Posted May 19, 2009 Share Posted May 19, 2009 Bart has already mentioned Michael Popkin's nice long interview with Christopher Wheeldon in the Spring 2009 DanceView. Like the rest of the articles in this and other issues, the interview is liberally illustrated with large black and white photos -- nine of them! Also in this issue, Leigh Witchel gives a detailed account of Mimi Paul coaching Sara Mearns and Jonathan Stafford in Emeralds, and along with John Clifford coaching Megan Fairchild and Jared Angle in Valse Fantasie. The cover features a photo from the collection of Robert Greskovic of Tamara Karsavina as Columbine in Diaghilev's version of Le Carnaval. More historical photos from Greskovic's collection accompany Alexandra Tomalonis' article, "Remembering Fokine," subtitled "100 Years Ago, a new choreographer was introduced to Paris." This issue also features Carol Pardo on NYCB's 2009 winter season. Jane Simpson reports from London on Sylvie Guillem and Russell Maliphant, The Royal Ballet's Isadora and Other Ballets, and ABT's Swan Lake. Rita Felciano reports from San Francisco on San Francisco Ethnic Dance Festival Auditions, Elizabeth Streb, Blacj Choreographers Festival Here and Now, Jerome Bel and Pichet Klunchun, Heidi Shweiker, and ODC/Dance. DanceView is the print big sister of danceviewtimes, and a subscription helps support that online magazine as well as Ballet Talk; both were founded and are sustained by Alexandra. Get one for the living room, one for the bedside table, and one for the guest bedroom is my advice. Link to comment
bart Posted May 19, 2009 Share Posted May 19, 2009 The photos are wonderful, I agree. The cover photo of Karsvina and the beautifully other-worldly, introspective look on Pavlova's face in the photo from the Pavillon d'Armide, are worth the cover price all on their own. The same holds for Leigh's thoughtful description of Paul and Clifford coaching Emeralds and Valse Fantasie. Reading that, and looking at the photos, made me incredibly envious -- wishing that I had been there -- in a way that performance reviews rarely do for me, nowadays at least. It helps that I really adored Paul back when Emeralds was new. Popkin's and Wheeldon's discussion of "narrative elements" in his work fits in nicely with several of our recent discussions right here on Ballet Talk, especially: The Fell Influence of Balanchine, by Sarah Kaufmann and In Search of the Next Balanchine Link to comment
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