Willie

Whispering.

During a performance of Giselle, I sat next to a very young girl and her mother. Throughout the performance, the mother explained every scene to her child in a whisper. Near the end of the final act the little girl whispered to her mother "where’s she [Giselle] going?" and her mother whispered back "she’s got to go." I looked at the little girl. Her eyes were focused on the stage and she seemed to understand the scene without further explanation.

Funny thing -- I remember very little about that performance of Giselle, but I do remember the wonderful, intimate interaction between mother and daughter.

... consideration for your fellow human is neither a cultural nor a class issue.

I quote spannerandpony, but this question is open to everyone:

Do different cultures, classes or generations have different standards of "consideration for your fellow human"?

I think so. When someone else's standard doesn't meet my standard, I get upset. Perhaps I'm a consideration snob.

I attended the Chicago Repertory Ballet’s premier performance on Friday, 21 September. Here are a few of my thoughts about the mixed bill (in order of performance).

"Très Hip: A Love Story" is something one would expect to see performed on Broadway, not by a ballet company, contemporary or otherwise. The saving grace was a wonderful duet by Lizzie MacKenzie and Matthew Wenckowski.

"La Vie En Rose"was a beautiful pas de deux danced by Danielle Scanlon and Tony Suhadoinik to the music of Edith Piaf.

"Lent Et Douloureux" is slow ("lent"); however, as my French guest pointed out, there was no painful ("douloureux"). The mirror image dancing between the two female dancers was excellent.

"Peoplescape: Juxtaposition" was a well conceived, well danced, and extremely intense contemporary dance.

"Of Alice" is a beautiful tribute to choreographer Autumn Eckman’s grandmother and grandfather in their younger years. Danielle Scanlon’s solo dance was beautiful.

"Its Not Enough to Close Your Eyes" is an interesting duet that involves one male and one female dancer dancing around a single light on stage shining from the stage upward on an otherwise dark stage.

"Shostakovich Piano Concerto." It wasn’t until this finale that he dancers were given the opportunity to unfurl their wings and really show off their stuff.

A side note. Ruth Page Center for the Arts has no box seats, and fate sat me behind a gentleman with a large head.

After giving this some thought, I’ve concluded that I’m a snob.

I don’t want to sit next to someone wearing jeans. I don’t want to sit behind a big, moving head. I don’t want to sit shoulder to shoulder with someone fighting for armrest space. I don’t want a spilt drink flowing under my feet. I don’t want to see the glow of smart phones near me. And I certainly don’t want to hear anyone talking.

To avoid those people and those things that bother me, I endeavor to purchase box seats. Box seats remedy the spatial issues, as boxes provide plenty of elbow room, shoulder room, and head room for everyone (one exception is Palais Garnier – see, I’m snubbing my nose at Palais Garnier). Additionally, the audience behavior issues are resolved (or at least mitigated). I am of the belief that patrons who spend larger sums of money to obtain a box seat are more likely to dress nicely and more likely to be considerate of those around them.

Yes, I think I’m a snob. Please forgive me.

Preview – Chicago Repertory Ballet, Mixed Bill: Vicki Crain, Windy City Times

Thanks, Ian. I was unaware of Chicago’s newest professional dance company. The CRB will debut on 21.09.12 at Ruth Page Center for the Arts, a small theater within walking distance from my home. I have no plans for next Friday, so I purchased my tickets to see (and support) this new company.

On 08.09.12, I had the privilege to see La Bayadère at the Semperoper. A few thoughts:

The Semperoper is absolutely beautiful. The staircases, hallways and foyers contain painted mythologic scenes, faux-marble columns and walls (an interesting story about the marble), all lit by ornate ceiling and wall mounted chandeliers. The auditorium is just as grand. The seating is comfortable, the views of the stage are great, and the acoustics are fantastic.

The ballet was choreographed by Aaron Watkins after Marius Petipa. Watkins’ version is essential the same as Petipa’s, except for the ending which is much more dramatic. Natalia Sologub (Nikija) and Jirí Bubenícek (Solar) danced their parts beautifully, and the corps de ballet did an exceptional job with the Kingdom of the Shades.

The Saturday evening crowd was perhaps the best dressed I’ve ever seen at a ballet - Men in suits (and a few tuxedos) and women in gowns and evening dresses - all showing off in the foyers and hallways during the interval over a glass of champaign. During the performance, the audience remained silent from the first note to the last note, except where applause was appropriate. There was no talking, no insubordinate picture taking, no phones ringing, just a considerate audience giving its attention to a wonderful ballet company performing its art.

All in all, the beauty of the Semperoper, the gorgeous ballet, and the considerate audience combined for a perfect evening.

Swan Lake by The Dutch National Ballet in Amsterdam (a birthday gift to myself).

Onéguine by Paris Opera Ballet at Palais Garnier in Paris (with my ex-wife).

Giselle by Prague State Opera Ballet in Prague (with my sister).

Les Saisons Russes by Mariinsky Ballet in Washington, DC. (Yekaterina Kondaurova

was phenomenal as the Firebird).

La Fille mal gardée by National Ballet of Canada in Toronto (extremely entertaining).

Swan Lake by Barcelona Ballet (formerly Corella Ballet) in Detroit (Ángel Corella was fantastic; I hope the Barcelona Ballet survives its financial issues).

Swan Lake by Mariinsky Ballet in St. Petersburg (beautifully danced by Anastasia and Denis Matvienko).

La Bayadère by American Ballet Theater in New York (beautifully danced by Polina Semionova and David Hallberg).

Coppélia by Bolshoi Ballet in Washington, DC. (very entertaining).

Graeme Murphy’s Swan Lake by Australian Ballet in New York (interesting version).

English is not my first language and I apologize for any mistakes I might make....

Katerina, your English is better than mine! But I have an excuse - I’m an American!

I have ... seen performances in ... Dresden....

Is the Semperoper as beautiful as people say? In September, I’m traveling to Dresden to see La Bayadère.

Ím a musicology student from Germany....

In the 80s (I feel old) I lived in Giessen (oh, sorry, Gießen). Sadly, I forgot most of the German I knew except for “noch ein bier, bitte.”

Sets and costumes are by Susan Benson. Is that correct, Willie?

Let me look at my program ... let's see, here it is: Lavastus ja puvut (sets and costumes) - Susan Benson.

Thanks for that bit of information, Katherine!

Which production was it?

Oh, sorry. I intended to write it in the topic title. John Cranko.

For me, Romeo & Juliet is all about the two main characters, Romeo and Juliet. The principal dancers’ main job is to convince me that they are, in fact, Romeo and Juliet. Tiina Myllymäki (Juliet) and Jani Talo (Romeo) did just that.

Tiina made me believe that she was Juliet, a playful child who received her first party dress. I felt the infatuation between Tiina and Jani when they first saw each other at the ball. During the balcony pas de deux, I was convinced that Tiina and Jani were falling in love before my very eyes ... and that’s when the tears started rolling down my checks (I’m glad I brought my handkerchief). Then during the bedroom pas de deux, I was absolutely convinced that Tiina and Jani could not live without each other. {cue more tears}. And even though I know how the story ends, I was devastated when they took their own lives. As the cast took their bows, I found it difficult to clap and wipe my eyes at the same time. It was a beautiful spectacle to witness.

... and what a wonderful audience. Quiet and respectful throughout the entire performance. Everyone was seated on time. No excessive talking. No ringing phones. No photos. No food and drink issues. No head issues (a function of the theater’s seating). And everyone remained seated until the last bow was taken. A perfect audience in a perfect theater for a perfect performance by an outstanding ballet company.

I believe audience behavior is a function of the venue and culture (I think I will side-step the cultural topic). In my view, a nice venue – a subjective concept that takes into consideration, among other things, theater aesthetics, seating comfort, views of the stage, cloakroom availability, availability of intermission refreshments – creates an atmosphere for good audience behavior.

Although I have not been everywhere, in my subjective world, the best behaved audience is at the Finnish National Opera house in Helsinki. The venue is modern and its acoustics are perfect. What it lacks in history, it makes up for in comfort. The patrons dress very well and they are politely quite during the performance. The interval refreshments and food appear as though it is provided by a Michelin-rated restaurant; perhaps that explains why everyone is so happy and well-behaved. I enjoyed the experience so much, I am returning this weekend to see Romeo & Juliet.

A close second for best audience behavior is The Four Seasons Centre for the Performing Arts in Toronto.

Okay, I lied. I will make a comment on culture. The worst audience behavior is a tie among all of the theaters in the States.

The Miami City Ballet routinely performs in Miami, Fort Lauderdale and West Palm Beach, Florida. Two years ago I flew from Chicago to Fort Lauderdale to see Romeo & Juliet. When I got to the theater I noticed signs for the musical “Wicked.” I asked a theater attendant, “Is the Miami City Ballet performing Romeo & Juliet today?” “Yes,” the attendant said politely, “in West Palm Beach!”

The transformation to the industrial age and the forging of the rings was absolutely spectacular ... then it descended to a pile of poo ....

Likewise I loved the opening rural scene and the transformation into the industrial age, Kenneth Branagh, the forging of the olympic rings, then especially the James Bond film and entrance of the Queen....

I very much enjoyed the beginning, too.

[A]lthough I wanted to see the GB team I was too tired and gave up at 11pm!

I wanted to see the U.S. team, but I fell asleep at some point during the pile of poo.

...and I enjoyed the second and third acts. So much for my day at work...

I, too, enjoyed the first act. Osipova and Vasiliev dance well, and look great, together.

Just been on the Mikhailovsky website (www.mikhailovsky.ru/en) and under forthcoming live broadcasts there is a performance of Don Q on Wed. July 25th starring Ivan Vasiliev and Natalia Osipova. It says it is a premier of the revised version of the ballet. Time is 7.30 pm, presumably St Petersburg time so not sure what time that makes it here. Running time 3 hours including 2 intervals. Can't wait!!! Joan

Thanks for the info, Joan.

Let's see ... the curtain rises at 10:30 am in Chicago. I suppose I'll be watching at work.

I enjoy guest dancers, because sometimes it’s a reunion dance and other times it’s a precursor of things to come.

Recently, I saw Anastasia and Denis Matvienko in Swan Lake at the Mariinsky (Denis left the Mariinsky, right?). So I consider that a reunion guest dance. They have great chemistry.

Also recently, I saw Polina Semionova guest dance and David Hallberg in La Bayadère at the Met in New York. As it turned out, that was a precursor of things to come. I fell in love with Polina’s dancing.