Hey Priscilla, I am in complete agreement with you! I love that particular section of the article too!
The cute quote thing is: putting the word quote within brackets [quote] and then doing the same thing w' /quote (within brackets) for the ending.<P>Regarding the article: I think the author brings up some good points. Homan's states that audience's may look elsewhere (outside NYCB) for lively Balanchine representations. Having enthusiastically watched the Suzanne Farrell company develop over the past few years, I happen to agree. I should note for the record that I've been a frequent audience member at both City Ballet & Farrell's ballet. Farrell's company brings an elegant, crisp freshness to Balanchine's choreography that I find City Ballet lacking these days. <P>Homan also mentioned the diverse community which Balanchine fostered (including Russians, Muriel Stuart [English] and Americans); today, Suzanne Farrell also attempts to create a diverse artistic community. Although different in nature (obviously the times they have-a-changed), Farrell's company more closely represents the diversity of Balanchine's original group of dancers. Russian dancers (mostly Kirov dancers) frequently, if not always, guest with S. Farrell's company. Some Russians are now full time or more permanent members of the company. In addition to Russian trained dancers, Farrell auditions, chooses from a pool of dancers that do not come striclty from SAB. This freedom allows for a fresh and exciting approach to the work yet does not retract from the authentic quality, not to mention deep knowledge, that Farrell brings to coaching the company.<P>In reagard to City Ballet, it is not the new choreography being showcased which distresses me. Far from it!!! I am happy to offer my personal congratulations in support of a project such as the diamond project. Creating an audience for new choreography is a great thing, something that Balanchine surely would've supported (given the very nature of his own work). However, sidelining the quality of Balanchine's work is the issue. I do not support the idea of pouring money into something like the Diamond project while Balanchine's choreography is wasting away without proper coaching or rehearsal time. I think there is room for both; new choreographic exploration and the proper preservation of Balanchine's legacy. It is my hope that in the future City Ballet will create a more balanced approach....meanwhile, for my Balanchine fill, I'll continue to look towards outside sources with their respected, time honored commitment to preserving such a huge legacy.<BR>