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 Post subject: Re: New York City Ballet 2003-4
PostPosted: Sun Nov 23, 2003 3:14 pm 
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Thanks for the info, ksneds. I copied it to the Holiday Performances forum:

New York City Ballet Nutcracker 2003

<small>[ 23 November 2003, 04:15 PM: Message edited by: Azlan ]</small>


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 Post subject: Re: New York City Ballet 2003-4
PostPosted: Tue Nov 25, 2003 12:45 pm 
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PBS' Live from Lincoln Center series will present "New York City Ballet and all of Lincoln Center celebrate George Balanchine’s 100th Birthday" on Wednesday, May 5, 2004 at 8 p.m. Found this info on the Live from Lincoln Center web site.

Hooray! Balanchine on TV...I wonder what they will present, and if it will be snippets or full ballets - and if Los Angeles's PBS affiliate will end up showing it at 2 in the morning again...


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 Post subject: Re: New York City Ballet 2003-4
PostPosted: Thu Nov 27, 2003 11:48 am 
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Quote:
Celebrating Balanchine, From Kinky to Classic

By ANNA KISSELGOFF
The New York Times

The New York City Ballet opened its season on Tuesday night with a low-key prelude to a high-octane celebration that begins in earnest in January.

The three ballets by George Balanchine on the program were familiar: two signature company works, "Serenade" and "Symphony in C," and the stylized "Bugaku," with Balanchine at his kinkiest and most experimental.

...

Centenaries come and go, but celebrating the 100th anniversary of the birth of George Balanchine (Jan. 22, 1904) is not like an anniversary tribute to Bach (although Balanchine is certainly the Bach of choreographers).

Bach lives on through his music just as Balanchine and Frederick Ashton, also born in 1904, live on through their choreography as two of the greatest choreographers in the history of ballet.
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<small>[ 27 November 2003, 12:54 PM: Message edited by: kurinuku ]</small>


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 Post subject: Re: New York City Ballet 2003-4
PostPosted: Thu Nov 27, 2003 12:49 pm 
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Location: Estonia
Quote:
Yearlong Tribute to Balanchine Kicks Off

By JOCELYN NOVECK
The Associated Press

When the dancing ended, the undisputed star of the New York City Ballet took the stage for the night's biggest ovation.

It wasn't a dancer at all, but the late George Balanchine, one of the 20th century's great artistic minds, descending from the rafters Tuesday evening in a giant black-and-white photograph. The elegant tableau showed him in perhaps his most comfortable pose: teaching in class.
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 Post subject: Re: New York City Ballet 2003-4
PostPosted: Fri Nov 28, 2003 10:41 am 
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Location: SF Bay Area
Quote:
SPEAKING OF BALANCHINE

Tobi Tobias
Arts Journal

New York City Ballet / New York State Theater, Lincoln Center, NYC / November 25, 2003

The George Balanchine Foundation: Videotaping of Violette Verdy coaching George Balanchine's Emeralds / Samuel B. and David Rose Building, Lincoln Center, NYC / October 27, 2003

Works & Process: Balanchine's Lost Choreography / Guggenheim Museum / November 16 & 17, 2003 <a href=http://www.artsjournal.com/tobias/archives20031101.shtml#61423 target=_blank>more</a>


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 Post subject: Re: New York City Ballet 2003-4
PostPosted: Sun Nov 30, 2003 4:42 am 
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Location: London, England; Tallinn, Estonia
Balanchine 100 New York City Ballet New York
By Hilary Ostlere for The FT


In an auspicious opening of the year-long Balanchine Centennial Celebration, New York City Ballet presented three of his classics: Serenade,Bugaku and Symphony In C - a surefire selection for a special evening. Diverse as these ballets are, they are all benchmarks of a kind in Balanchine's career and the development of his company.

click for more

Note: It looks as though a Sub-Editor's pen has wreaked havoc with the section of this review dealing with "Bugaku".

<small>[ 30 November 2003, 07:00 AM: Message edited by: Stuart Sweeney ]</small>


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 Post subject: Re: New York City Ballet 2003-4
PostPosted: Mon Dec 01, 2003 9:54 am 
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Location: Estonia
Quote:
New York celebrates George Balanchine centennial

AFP

NEW YORK (AFP) - January 22, 2004 marks the centennial of the birth of George Balanchine, and New York is celebrating the heritage of the man who introduced and developed ballet in the United States.

...

"He was so ahead of his time, he broke away from the old fashion, he asked us to dance faster, to jump higher, he took away the big heavy costumes, he pushed the body to the limits," says the young Texan, a member of New York City Ballet since age 13.
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 Post subject: Re: New York City Ballet 2003-4
PostPosted: Tue Dec 02, 2003 3:54 pm 
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Location: Canada
Greeeings!
A roster update...Deanna McBrearty has very recently departed from the company, and her name is now been taken off of the website. Good luck to Deanna in her future endeavours!

Kate

<small>[ 02 December 2003, 04:59 PM: Message edited by: ksneds ]</small>


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 Post subject: Re: New York City Ballet 2003-4
PostPosted: Thu Dec 04, 2003 9:18 am 
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Quote:
All Hail the Chief

By DEBORAH JOWITT
The Village Voice

By the time you read this, the New York City Ballet will be in the throes of its Nutcracker, but the program that kicked off the company's "Balanchine 100: The Centennial Celebration" promises the wealth to come throughout the centennial of George Balanchine's birth. It began with Serenade, the first ballet Balanchine made in America, and ended with Symphony in C, which opened the company's 1948 debut season under its new name at City Center. Between these masterpieces came the sole centennial performance of Bugaku (1963), a sort of sexy amuse-bouche for opening-night gala patrons.
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 Post subject: Re: New York City Ballet 2003-4
PostPosted: Thu Dec 04, 2003 11:17 pm 
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Location: SF Bay Area
I've created a new topic for the Winter Season:

- New York City Ballet Winter Season 2003-04 (Balanchine 100)

<small>[ 05 December 2003, 12:29 AM: Message edited by: Azlan ]</small>


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 Post subject: Re: New York City Ballet 2003-4
PostPosted: Tue Dec 09, 2003 8:32 am 
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Quote:
50 Years of Bunnies, Candy Canes and Mice

By ANNA KISSELGOFF
The New York Times

aria Tallchief and Peter Boal, two of the main players, couldn't make it as planned to a celebration of 50 years of children's performances in "The Nutcracker" at New York City Ballet on Saturday night. But the show did go on, along with a festive reunion of former bunnies, mice, toy soldiers and candy canes.

...

Ms. Tallchief, the first Sugarplum Fairy in George Balanchine's 1954 version of "The Nutcracker," could not open the evening as guest of honor because she was snowed in in Chicago, he said, adding that Mr. Boal, "our supposed Cavalier," was snowed in in Washington.
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 Post subject: Re: New York City Ballet 2003-4
PostPosted: Mon Jan 19, 2004 2:32 am 
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Quote:
George Balanchine, Musical Comedian?

By MATTHEW GUREWITSCH
Th New York Times
January 18, 2004

A star from high culture can get points for swinging low. When Plácido Domingo sings "Yesterday" or Mikhail Baryshnikov drops in on "Sex and the City," they're being good sports. But when entertainers aspire to high art, they get shot down. (People still cringe at the very idea of Paul McCartney's "Liverpool Oratorio.") So what do you call it when Susan Stroman takes a leave of absence from Broadway to mount a new full-length ballet for the New York City Ballet? Is it hubris? Nerve? A sign?
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 Post subject: Re: New York City Ballet 2003-4
PostPosted: Sat Jan 24, 2004 8:24 am 
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Quote:
Susan Stroman Ballet 'Double Feature' Debuts at New York City Ballet

By ROBERT SIMONSON
The Playbill on Yahoo
January 23, 2004

Broadway director-choreographer Susan Stroman's first ballet will have its premiere at the hands of the New York City Ballet on Jan. 23. Performances will take place in the New York State Theatre at Lincoln Center.

Titled Double Feature, the work draws on music from two Broadway composers from the first part of the 20th century, Irving Berlin and Walter Donaldson. Among the songs used are "Let Yourself Go" and "Blue Skies" by Berlin and "Makin' Whoopee" and "My Blue Heaven" by Donaldson.
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 Post subject: Re: New York City Ballet 2003-4
PostPosted: Sun Jan 25, 2004 9:36 pm 
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I just returned from my usual January visit to NY primarily to see NYCB, but doing a lot of other things (chamber music, Broadway shows, birding in Central Park, the Met, museums, etc) while I'm there. From my perspective, there were the usual high points and low points in City Ballets season. One really fine performance was "Apollo" (Hubbe, Bourree, Somojyi, Rutherford).

As usual, I went to a number of rehearsals. You don't know in advance what they will be rehearsing, though you can sometimes guess, by looking at the program. But as luck would have it, I happened to see TWO dress rehearsals of the new Stroman ballet "Double Feature", followed by the premier performance and another performance, all the same cast. Four performances of the ballet in three days! The second half of the ballet, "Makin' Whoopee", featured a bravura performance by Tom Gold as a Buster Keaton-like character. The slapstick was OVER THE TOP. Alexandra Ansanelli was Gold's much-frustrated lady friend. She can't help but dance beautifully, even in the corniest of situations. The arrangements and orchestrations of the Irving Berlin/Walter Donaldson originals were excellent, and I thought were key to the success of the work.

Cynthia Gregory staged "Chopiniana" for the SAB students and took bows after the performance. Peter Martins presented her with flowers and a kiss, and she got a great big hand (by those in the audience who knew who she is).


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 Post subject: Re: New York City Ballet 2003-4
PostPosted: Mon Jan 26, 2004 10:55 am 
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Quote:
Plenty of Pastiche and Pizazz, but, Sorry, No Popcorn

By ANNA KISSELGOFF
The New York Times
January 26, 2004

As a Broadway choreographer, Susan Stroman is the queen of pastiche, and in "Double Feature," her first two-act work for New York City Ballet, she delivers a surefire hit, channeling silent-film clichés into a style of her own.

Playful, entertaining, often hilarious and superb in its theatrical timing and its musical irony in relation to songs by Irving Berlin and Walter Donaldson, "Double Feature" has been a hot ticket for months before its premiere on Friday night. Anticipation was high at the sold-out New York State Theater and an ovation greeted Ms. Stroman like a conquering heroine.
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