I was in Miami City Ballet and it was interesting to hear the info about how he passed down his repertoire. (It was also awesome to see old MCB footage, and lovely Elyse Borne and amazing Eddy Villella and my lovely fellow dancers! 😊) Lots of other peeps I like, saying amazing things. Thank you for posting! 😊
What a wonderful, wonderful documentary. Thank you so so much. What a treat to see all these former wonderful Balanchine dancers older and giving so much of themselves to share and preserve Balanchine. Each are so wonderful in their own unique way. I bow to all of them. They have all been a part of my life since i was 7 years old. They are an imprint upon me of the sacredness and beauty of Balanchine & the wonderful dancers he created.
Maillot makes me drop off the chair every time he speaks. He is so nimble of mind and tongue. He expresses things like from a kaleidescope of explosions, carefully honed. His words flow out of him. He has such dimension in his conveyances and such a rich and unique way of saying it all. He's wonderfully serious and intense yet there is this sort of unintended ironic humour throughout. When each person spoke it was like pearls of unique beauty and wisdom coming out of their mouths. It is such a loss that Karin Von Aroldingen died. All these Ballanchine disciples are extraordinary and were/are bearing great gifts.
Omg! First image of the documentary: Steven Annegarn dancing the lead in the rehearsal room… I hadn’t seen him since… 1987 in the Uk but he is so recognizable!
All performance art--theater, dance, music, spoken poetry/ word--gives so much to people. God grant we can keep it alive through these benighted times. On young dancers, who have the technique and the desire, but not the life experience or depth of passion, the ballet master places the steps. ON the dancer with an explanation of what they mean thematically. Then the dancers start to absorb the meaning and the depth and the passion as they repeat the external form over and over. The choreography becomes shared between the steps and the dancer as a person, they grow together into an organic expression, which is the ballet in its realization. How could God hear these dancers speak and not be glad He created Humanity?
He left his ballets to certain people because otherwise his brother in the USSR would have inherited them and hat meant the state would take them and they'd never have been seen again. Go read Bernard Taper's book. It has everything.
Mr. Barnes says if Balanchine had had his way the ballets would never have been seen again after he died. No! Balanchine often said things to make a point at different times. It's not necessarily that he meant it literally. And indeed Balanchine knew his ballets would live on, albeit they would be different. He is quoted as saying yes, they will be my ballets but they won't be the same. When you get closer to death, your thoughts change, you renege, you sober up, you snap out of it. You have to accept reality of you passing and so you suddenly have an urgency or directive to protect that which you are leaving the world.
How did Balanchine pass down the actual steps and execution notes ? Was the choreography written down ? I'm not understanding why it is such an angst to recreate a Balanchine ballet.
This video must have been filmed in the mid 90's. Only reason I know that is because I'm from Seattle and remember some of the company dancers that were filmed were around when I was in the school. So it must have been like '93 to '96 time frame. Francia Russell looks much younger there.
What are you serious? You just mention a Balanchine piece and the audience shows up, even if they think they dont like it because HE CREATED a new phase in Balalet.. All this modern dance in ballet is ruining it. Keep ballet as ballet, no tricks, just beautiful technique and virtuoso dancing
Balanchine's works grow in popularity? Balanchine's choreography was (and still is) known for his magic blending of music and dance into one, but sadly his choreography is very much out of date now -- most pieces quite boring actually, despite the intricacy of the music, steps and patterns. Square Dance, a prime example of that blending, seems to have been put to bed. The NYCB is not what it once was - slowly slipping away from the optimum body types revered by Balanchine. These days, the Russians -- many from his alma mater and with the long lean bodies and immaculate technique he craved -- perform his works the best, still able to breath some life into his tired pieces. Balanchine had an eye for the girls, using the men more as mere props. His dance patterns are intricate but left over fairy chains. Ballet has moved on, with the most amazing athletic men, flexible women and more engaging choreography. The NYCB has had to expand its repertoire and adopt the classics to avoid bankruptcy, perhaps a move away from the insularity that almost closed its doors. I'm not sure why Balanchine pieces are performed as much as they are. Perhaps the rights are reasonable; perhaps reality simply takes a long time to break conventional wisdom.
Russians perform Balanchin works the best, still able to breath some life into his tired pieces? Who for example? Skorik? You are the biggest idealizator of Russian dancers i've ever seen, i must say.
reanimato1 I certainly don't idealize Russian dancers; however, I do think without any doubt, that Russian/Vaganova trained dancers are the best in the world. I've been around, and a participant of, ballet for a long time. They always stand out, in class and in companies. Oxana Skorik is a once-in-a-lifetime dancer. Very seldom does one come along with a perfect ballet body and incredible musicality, lyricism, flexibility, artistry, combined with steely strength, all in one package. Her artistry continually improves, as it does with all top dancers, as it is the experience that produces unique artistry. The dancers don't have to be Russian -- just Russian trained. Western training, so far, just does not result in the same fluidity, lyricism, clean technique, and body expression, although that is beginning to change, as the West catches up. David Hallbberg is one exception. I know a young male dancer right now from the West whose technique and jumps are to die for - equally as good as the Russian-trained men -- and actually he had a Russian teacher along the way.
JNK Russians without doubt are the best in their native repertory. In Petipa, Fokin, Grigorovich. But imho they absolutely suck in Balanchin and Robbins. They have no speed, no accentuations.Thay dance everything on the same speed. Skorik danced Crystal Palace as if it was Waynone's Nutcracker. Have you ever seen live performances of NYCB? Strength? MUSICALITY? We probably are talking about not the same Oxana Skorik...Whatever.
reanimato1 - Strange comment in view of the Vaganova Academy and the Mariinsky Ballet being Balanchine's Alma Maters, producing the type of dancers for which Balanchine spent his life striving -- bearing in mind, of course, that Oxana Skorik, one of the most talented dancers of our time, was not trained at the Vaganova Academy. When comparing other companies to the NYCB, you have to keep in mind that Balanchine's ballets are rehearsed, staged and approved by Balanchine Trust approved repetiteurs -- In the U.S., Russia, the world. The dancer's dance to the music. Oxana Skorik is known for her musicality, Among her strengths is her ability to switch among lyrical adagio, quick petit allegro, and steely strong fouettes and balances. I am not a Balanchine fan. As I have mentioned, I appreciate his combining the music and dance into one; however, in my view, most of his pieces are now old-fashioned and out of date. One doesn't have to watch ballet live to appreciate the merits of a piece. Before I responded, I took the time to revisit Balanchine by the NYCB and other companies. I prefer the Russians because of their amazing extensions and clean technique. It's not a matter of Russians being slow (the repetiteurs would not allow that). I believe it comes down to a difference in fluidity. The Russians have a fluidity that NYCB dancers do not have. It comes down to a matter of preference. Who know what Balanchine would have thought. He's not here to comment; however, judging by the muses he chose, I think he was striving for the Russian style and body type. As an aside, the difference between the Russian training is that it is so good it allows them to easily pick up and do beautifully any choreography. That is not the case at the NYCB and is particularly noticeable when they dance the Classics, as they have started doing to stay afloat. I checked some old NYCB videos from his time. The dancers are relatively short and pretty sloppy in their technique. Of course, in general, professional dancers everywhere are taller now.
It doesn't really matter what was Balanchin's alma mater because he considered Russian imperial performances stiff, boring and dated. His ballets like Ball for Regina or Allegro Brillante are nothing but Balanchin's own vision about how classical ballet should look like. And to achieve his ideal he had to create his own method of training. Why would he do it? Obviously, Russian method is perfect for the Russian repertory. But it's NOT for Balanchin or Bournonville repertory. Ballet masters from Balanchin trust come to Russia (or elsewhere) only for a short period of setting. After that Russian dancers stay with their coaches who never danced Balanchin in their lives. Repetiteurs would not allow to slow down the tempo? Hello, watch Tchaykovsky PDD with Obraztsova and Merkuriev from Kremlin Gala, at least. The tempo is slowed down to the extreme. And practically everyone can show a ~clean technique~ in such tempo. Surely, you're free to like what you like. But how can you say that Russians are the best in the world in Balanchin? Better than those who specialize on Balanchin since ever and work every day to preserve his choreo exactrly how Mister B planned it? Impossible on this planet. You like extensions and Vaganova legato? It's fine. But please stop saying that Skorik has a great musicalty. As a graduate of conservatory i just can't stand to hear this tripe anymore.
I was in Miami City Ballet and it was interesting to hear the info about how he passed down his repertoire. (It was also awesome to see old MCB footage, and lovely Elyse Borne and amazing Eddy Villella and my lovely fellow dancers! 😊) Lots of other peeps I like, saying amazing things. Thank you for posting! 😊
Never get tired of watching this marvelous piece of ballet history
What a wonderful, wonderful documentary. Thank you so so much. What a treat to see all these former wonderful Balanchine dancers older and giving so much of themselves to share and preserve Balanchine. Each are so wonderful in their own unique way. I bow to all of them. They have all been a part of my life since i was 7 years old. They are an imprint upon me of the sacredness and beauty of Balanchine & the wonderful dancers he created.
Lovely. The dancer playing Bottom near the beginning in Midsummer Night's Dream is so perfect. So poignant and comic and tender. A little tear.
Maillot makes me drop off the chair every time he speaks. He is so nimble of mind and tongue. He expresses things like from a kaleidescope of explosions, carefully honed. His words flow out of him. He has such dimension in his conveyances and such a rich and unique way of saying it all. He's wonderfully serious and intense yet there is this sort of unintended ironic humour throughout. When each person spoke it was like pearls of unique beauty and wisdom coming out of their mouths. It is such a loss that Karin Von Aroldingen died. All these Ballanchine disciples are extraordinary and were/are bearing great gifts.
Fascinating to see Theme & Variations in rehearsal, being born (Borne) again! How many times I saw T&V on the NYCB stage. This is a new view.
Omg! First image of the documentary: Steven Annegarn dancing the lead in the rehearsal room… I hadn’t seen him since… 1987 in the Uk but he is so recognizable!
All performance art--theater, dance, music, spoken poetry/ word--gives so much to people. God grant we can keep it alive through these benighted times. On young dancers, who have the technique and the desire, but not the life experience or depth of passion, the ballet master places the steps. ON the dancer with an explanation of what they mean thematically. Then the dancers start to absorb the meaning and the depth and the passion as they repeat the external form over and over. The choreography becomes shared between the steps and the dancer as a person, they grow together into an organic expression, which is the ballet in its realization. How could God hear these dancers speak and not be glad He created Humanity?
That’s beautiful!
Hyppolita! Amazing!
He left his ballets to certain people because otherwise his brother in the USSR would have inherited them and hat meant the state would take them and they'd never have been seen again.
Go read Bernard Taper's book. It has everything.
Mr. Barnes says if Balanchine had had his way the ballets would never have been seen again after he died. No! Balanchine often said things to make a point at different times. It's not necessarily that he meant it literally. And indeed Balanchine knew his ballets would live on, albeit they would be different. He is quoted as saying yes, they will be my ballets but they won't be the same. When you get closer to death, your thoughts change, you renege, you sober up, you snap out of it. You have to accept reality of you passing and so you suddenly have an urgency or directive to protect that which you are leaving the world.
NOW is beautiful!
Square Dance just needs Merrill Ashley to come to NYCB and coach it.
Hi
Well, now she can, although a zillion years too late.
How did Balanchine pass down the actual steps and execution notes ? Was the choreography written down ? I'm not understanding why it is such an angst to recreate a Balanchine ballet.
so exciting to see PBT in the wilde years ...
This video must have been filmed in the mid 90's. Only reason I know that is because I'm from Seattle and remember some of the company dancers that were filmed were around when I was in the school. So it must have been like '93 to '96 time frame. Francia Russell looks much younger there.
Pat Wild is sooo precise
He seemed so happy with Suzanne . No question.
What are you serious? You just mention a Balanchine piece and the audience shows up, even if they think they dont like it because HE CREATED a new phase in Balalet.. All this modern dance in ballet is ruining it. Keep ballet as ballet, no tricks, just beautiful technique and virtuoso dancing
I enjoy both traditional and Balanchine styles. I don’t believe that they complement each other and provides a more varied experience for audiences.
When was this film created?
Not sure but long time ago
1997
Баланчвадзе на Набокова похож. Такой же взгляд и манера держатьсебя
Now was everything to Mr B
Sub titles please
Dang! . . . Theme and Variations is sooo fast en pointe
Have you seen the gelsey Kirkland u tube video of this ballet? Unbelievable. Check it out, you'll love it.
I thought Tanaquil Le Clercq received the majority of his ballets.
She did and so did Karen
Balanchine's works grow in popularity? Balanchine's choreography was (and still is) known for his magic blending of music and dance into one, but sadly his choreography is very much out of date now -- most pieces quite boring actually, despite the intricacy of the music, steps and patterns. Square Dance, a prime example of that blending, seems to have been put to bed. The NYCB is not what it once was - slowly slipping away from the optimum body types revered by Balanchine. These days, the Russians -- many from his alma mater and with the long lean bodies and immaculate technique he craved -- perform his works the best, still able to breath some life into his tired pieces. Balanchine had an eye for the girls, using the men more as mere props. His dance patterns are intricate but left over fairy chains. Ballet has moved on, with the most amazing athletic men, flexible women and more engaging choreography. The NYCB has had to expand its repertoire and adopt the classics to avoid bankruptcy, perhaps a move away from the insularity that almost closed its doors. I'm not sure why Balanchine pieces are performed as much as they are. Perhaps the rights are reasonable; perhaps reality simply takes a long time to break conventional wisdom.
Russians perform Balanchin works the best, still able to breath some life into his tired pieces? Who for example? Skorik? You are the biggest idealizator of Russian dancers i've ever seen, i must say.
reanimato1 I certainly don't idealize Russian dancers; however, I do think without any doubt, that Russian/Vaganova trained dancers are the best in the world. I've been around, and a participant of, ballet for a long time. They always stand out, in class and in companies.
Oxana Skorik is a once-in-a-lifetime dancer. Very seldom does one come along with a perfect ballet body and incredible musicality, lyricism, flexibility, artistry, combined with steely strength, all in one package. Her artistry continually improves, as it does with all top dancers, as it is the experience that produces unique artistry.
The dancers don't have to be Russian -- just Russian trained. Western training, so far, just does not result in the same fluidity, lyricism, clean technique, and body expression, although that is beginning to change, as the West catches up. David Hallbberg is one exception. I know a young male dancer right now from the West whose technique and jumps are to die for - equally as good as the Russian-trained men -- and actually he had a Russian teacher along the way.
JNK Russians without doubt are the best in their native repertory. In Petipa, Fokin, Grigorovich. But imho they absolutely suck in Balanchin and Robbins. They have no speed, no accentuations.Thay dance everything on the same speed. Skorik danced Crystal Palace as if it was Waynone's Nutcracker. Have you ever seen live performances of NYCB?
Strength? MUSICALITY? We probably are talking about not the same Oxana Skorik...Whatever.
reanimato1 - Strange comment in view of the Vaganova Academy and the Mariinsky Ballet being Balanchine's Alma Maters, producing the type of dancers for which Balanchine spent his life striving -- bearing in mind, of course, that Oxana Skorik, one of the most talented dancers of our time, was not trained at the Vaganova Academy.
When comparing other companies to the NYCB, you have to keep in mind that Balanchine's ballets are rehearsed, staged and approved by Balanchine Trust approved repetiteurs -- In the U.S., Russia, the world.
The dancer's dance to the music. Oxana Skorik is known for her musicality, Among her strengths is her ability to switch among lyrical adagio, quick petit allegro, and steely strong fouettes and balances.
I am not a Balanchine fan. As I have mentioned, I appreciate his combining the music and dance into one; however, in my view, most of his pieces are now old-fashioned and out of date.
One doesn't have to watch ballet live to appreciate the merits of a piece. Before I responded, I took the time to revisit Balanchine by the NYCB and other companies. I prefer the Russians because of their amazing extensions and clean technique. It's not a matter of Russians being slow (the repetiteurs would not allow that). I believe it comes down to a difference in fluidity. The Russians have a fluidity that NYCB dancers do not have. It comes down to a matter of preference.
Who know what Balanchine would have thought. He's not here to comment; however, judging by the muses he chose, I think he was striving for the Russian style and body type. As an aside, the difference between the Russian training is that it is so good it allows them to easily pick up and do beautifully any choreography. That is not the case at the NYCB and is particularly noticeable when they dance the Classics, as they have started doing to stay afloat.
I checked some old NYCB videos from his time. The dancers are relatively short and pretty sloppy in their technique. Of course, in general, professional dancers everywhere are taller now.
It doesn't really matter what was Balanchin's alma mater because he considered Russian imperial performances stiff, boring and dated. His ballets like Ball for Regina or Allegro Brillante are nothing but Balanchin's own vision about how classical ballet should look like. And to achieve his ideal he had to create his own method of training. Why would he do it? Obviously, Russian method is perfect for the Russian repertory. But it's NOT for Balanchin or Bournonville repertory.
Ballet masters from Balanchin trust come to Russia (or elsewhere) only for a short period of setting. After that Russian dancers stay with their coaches who never danced Balanchin in their lives.
Repetiteurs would not allow to slow down the tempo? Hello, watch Tchaykovsky PDD with Obraztsova and Merkuriev from Kremlin Gala, at least. The tempo is slowed down to the extreme. And practically everyone can show a ~clean technique~ in such tempo.
Surely, you're free to like what you like. But how can you say that Russians are the best in the world in Balanchin? Better than those who specialize on Balanchin since ever and work every day to preserve his choreo exactrly how Mister B planned it? Impossible on this planet.
You like extensions and Vaganova legato? It's fine. But please stop saying that Skorik has a great musicalty. As a graduate of conservatory i just can't stand to hear this tripe anymore.