CriticalDance Forum

Washington D.C.'s Kennedy Center hosts Balanchine Celebration, September 12-24. Each weekend features a different program made up of various companies performing assorted Balanchine dances. It is possible I will make it, as I am headed that way for work and to see my sister's play in New York, but wonder if any of these weekends comes more highly recommended than the others.<P>A description of the schedule can be found at <A HREF="http://www.kennedy-center.org/calendar/event_details.cfm?event=DBBLA" TARGET=_blank>http://www.kennedy-center.org/calendar/event_details.cfm?event=DBBLA</A> <BR>Perhaps some of you who are better acquainted with ballet can comment on what's being performed and by who, and help me make my decision. <P>Hm. Perhaps I should also find out what's available! Anyway, I thought this question may also stir a bit of discussion, since we all have our favorites (and not so).

Omigish, Prisanh, what a dilemma. I would want to see all of them, as there is something in each program that I think is a treat. Let's see my personal "highlights" would be:<P>- The Bolshoi doing Mozartiana (have never seen them do this, so it'll be more for the intrigue factor);<P>- MCB doing Rubies (very sexy and flirtatious, maybe the best I've seen);<P>- SFB's also sexy Symphony in Three Movements;<P>- Serenade (what else can I say about this old favorite?);<P>- Prodigal Son (a different sort of Balanchine work; a must-see if Joan Boada dances, especially if opposite Muriel Maffre).<P><BR> <BR>SFB's Joan Boada in Prodigal Son<p>[This message has been edited by Azlan (edited August 01, 2000).]

I just remembered we have several reviews here that you might find relevant:<P><A HREF="http://www.criticaldance.com/ubb/Forum4/HTML/000004.html" TARGET=_blank>MCB's "Jewels," including "Rubies"</A><P><A HREF="http://www.criticaldance.com/ubb/Forum4/HTML/000063.html" TARGET=_blank>SFB's "Symphony in Three Movements" and "Prodigal Son"</A><P>You might find more by clicking on search in the upper right corner of this page.<p>[This message has been edited by Azlan (edited August 01, 2000).]

Oh good - thanks for the replies. <P>I saw an evening of dance at Kennedy Center one night looooong ago, and I'm quite sure I saw some of the dances which are being performed during this festival. If only my belabored little brain could sort it out. Would help if I'd been a little more interested at the time. I was SO tiiiired that night, it was hard to pay attention. Plus, I wasn't so invested in dance as I am now. <P>Anyway, if any more little gems on this topic pop up, type away - it helps.

<P>The San Francisco Ballet performing Balanchine's "Symphony in Three Movements" photo by Marty Sohl <P>[Note: The two postings below have been moved to combine two topics] <P>An interesting preview article for the Balanchine Festival at Washington's Kennedy Center. Jean Batty Lewis tells us that: <P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>The festival does not claim to be as comprehensive as the New York City Ballet's yearlong survey of Balanchine in 1994, or even a collection of seminal works. (His first great work, "Apollo," is not on the schedule.) Rather, its distinction should lie in providing a new understanding of the Balanchine canon.<HR></BLOCKQUOTE><P>I suspect that the Festival will become a new focus for the on-going debate between the pro and anti-Martins (of NY City Ballet) camps. For the record, I do not belong to either, as I have insufficient knowledge of the Balanchine rep (we do't see much in theUK) or NYCB. <P><A HREF="http://www.nytimes.com/yr/mo/day/artleisure/dance-ballet-balanchine.html" TARGET=_blank> <B> Now read on</B></A> This link is dead now.<P>Note: You have to register to view the NY times site and I expect this link to remain active until 10th Sept.<P>****************************************<P>grace adds:<P>a rather ugly photograph accompanies this preview piece:<P> <A HREF="http://www.msnbc.com:80/news/457185.asp?cp1=1" TARGET=_blank>http://www.msnbc.com:80/news/457185.asp?cp1=1</A> <BR><p>[This message has been edited by Stuart Sweeney (edited September 13, 2000).]

Sarah Kaufman reviews the opening night of the Balanchine Festival with three companies on show. Miami and the Joffrey did well not tobe upstaged by the Bolshoi's Nina Ananiashvili.<P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>No speeches were made, no bubbly was poured at the opening of the much-anticipated two-week George Balanchine Celebration at the Kennedy Center Opera House last night. But if the champagne was only metaphorical--both the dancers and the audience seemed nearly giddy at the prospect of an entire evening devoted to the master choreographer--the fizz was very real. While not every piece was perfectly performed, there was a universal snappiness to the dancing and a building sense of the momentousness of this man.<P>In fact, it all left one quite dizzy.....<P>Balanchine built ballet in this country. In his lifetime, he controlled it. And he dominates it still.<HR></BLOCKQUOTE><P>Who could argue with the final paragraph? The question is - is that a good thing or not? Given Balanchine's generosity to others I suspect that he would be rather concerned about the current situation.<P><A HREF="http://www.washingtonpost.com/wp-dyn/articles/A61013-2000Sep13.html" TARGET=_blank>Now read on</A>

Anne Kisselgoff is also impressed with the Balanchine Festival opener. The real eye-opener seems to have been the Joffrey's 'Square Dance'<P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR> Arnie Ross, the Joffrey's violin soloist, led the string ensemble, which was made to resemble a group of fiddlers at a hoedown in "Square Dance." Balanchine used the conceit of a barn dance with a caller. The music, however, is by Vivaldi and Corelli and links ballet's roots to folk dance and Baroque forms. In 1976 Balanchine discarded the caller and the band. <P>The 1957 version, however, remained a hit at the Joffrey, and it was a joy to hear John Oldfield, the new caller, match his doggerel to the dancing, which is always classical and fiendishly difficult despite the red neckerchiefs on the men and the country-dance patterns. <HR></BLOCKQUOTE><BR> <P><A HREF="http://www.nytimes.com/2000/09/14/arts/14BALA.html" TARGET=_blank>Anne Kisselgoff's review</A><BR>

Sarah Kaufman praises the Friday evening peformance of the Balanchine Festival and then considers the current state of ballet. <P>That there are no clear successors to Balanchine, or Ashton and Macmillan for that matter, is a statement that few would disagree with and also that creativity in the modern dance scene is much healthier. However, I cannot agree with her contention that, 'Much of contemporary ballet reflects an appeal to the lowest common denominator.' She has just mentioned Forsythe at this stage and I have to say that LCD does not come to mind thinking of Ballett Frankfurt's maestro. <P>However, she does say, 'The gradual reconciliation of ballet and modern dance - once at war - has been a boon to both fields.' I'd drink to that, though I can think of a few who wouldn't.<P><BR><A HREF="http://www.washingtonpost.com/wp-dyn/articles/A17676-2000Sep16.html" TARGET=_blank><B>Now read on</B></A><p>[This message has been edited by Stuart Sweeney (edited September 16, 2000).]

NPR's <I>Morning Edition</I> will have a story tomorrow (Thursday, 9/21) on the Balanchine Festival.<BR><P>------------------<BR>=-=-=-=-=-=-=-=-=-=-=<BR>Jeffrey E. Salzberg, Lighting Designer<BR>Online portfolio, now including "This Day in Arts History":<BR><A HREF="http://www.suncoast.quik.com/salzberg" TARGET=_blank>http://www.suncoast.quik.com/salzberg</A> <P><BR>

<BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>'The gradual reconciliation of ballet and modern dance - once at war - has been a boon to both fields.'<HR></BLOCKQUOTE><P>She's my kind of artistic person, someone who seems excited by change and the possibilities it brings.

What a moving tribute by Marcia Siegal to Suzanne Farrell. (All the more a pity that NYCB cannot find a role for Farrell!) I had the pleasure of meeting Siegal when she chaired a dance writers' workshop in Hong Kong in March this year.

Had a great time at Kennedy Center Thursday night. As I sat in the great, red plush Eisenhower Theater I realized the last time I remember seeing professional ballet had been in the same building, but about ten years ago. That night it was "Jewels" (I think that's what it's called - do correct me if I'm wrong), and this time it was "Serenade", "Bugaku", and "Symphony in C". When I get home and type some things up I'll try to share a few more interesting and cogent thoughts. <BR>It was really a lovely evening.

I wish I had been there too! In balletgoing, I feel that there is really no experience as consummate as the Balanchine experience. The Kirov has better dancers nowadays, but after Petipa they haven't yet developed a genius choreographer like Balanchine in the last century.

Philip Kennicott, music critic of the Washington Post, analyses Balanchine's extraordinary facility with music. <BR> <A HREF="http://www.washingtonpost.com/wp-dyn/articles/A947-2000Sep23.html" TARGET=_blank>http://www.washingtonpost.com/wp-dyn/articles/A947-2000Sep23.html</A>

Jack Anderson adds his warm support for the Balanchine Festival:<P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>George Balanchine the abstractionist. Balanchine the storyteller. Balanchine the prankster. Those facets of Balanchine's choreographic personality were beautifully displayed when the San Francisco Ballet and the Pennsylvania Ballet shared a program this afternoon as part of the Balanchine Celebration at the Kennedy Center here.<HR></BLOCKQUOTE> <P> <A HREF="http://www.nytimes.com/2000/09/26/arts/26BALA.html" TARGET=_blank>http://www.nytimes.com/2000/09/26/arts/26BALA.html</A>