This group of tales takes place in Seattle, WA....at PACIFIC NORTHWEST BALLET.....where I was piano soloist for about 25 years (can it be that long?). I am now retired from that institution, and have no more responsibilities there. For some reason, that doesn't seem possible, but it is. There are aspects of my job that I miss, but not the long hours of rehearsals! I do miss some of the people.
When I first arrived in Seattle, and saw the place where PNB rehearsed (they performed in the Opera House at that time), I was aghast! (It was a gym, actually, and not very nice.) What had I done?! I asked myself that question....and wondered if I made a huge mistake in moving to Seattle! Of course, it was a lovely city (but I had been living in London, which is a fantastic place). Seattle is located on the Pacific Coast...and has many panoramic views from many vantage points. And the Space Needle as well! I love this city...but at that time, was not so sure....and had many questions.
Of course, I immediately liked Kent Stowell and Francia Russell, whom I had met previously, and who were the Co-Directors of the Organization. They were former dancers with the NYCB and I was from there as well. (It seems that everyone connected with the NYCB knows each other in some way. And furthermore, are connected by Facebook!) In addition, I know many people from the Zurich Company (many who had danced with NYCB)...so a huge famial group indeed!
On the first day of my employment there, I was asked to play class, which I did. However, since I was engaged to be their piano soloist (which requires a great deal of practicing outside the company rehearsals), I asked to be excused from playing class, as I needed to practice in the morning....(when class was held.) Francia thought that was a reasonable request, (Kent didn't understand but he went along with Francia). So that day I found out who really ran the company!
My first rehearsal was FOUR TEMPERAMENTS with Francia, which I had performed in NYCB. So that was no problem for me! Francia (who rehearsed all the Balanchine repertoire) was delighted to have a pianist like me, who could play all of it...and she would not have to use a tape any longer! From then on, we worked together nearly every day...as there was much Balanchine in the company. I enjoyed all of that very much....Francia and I got along very well...and became good friends. The dancers were excellent, I thought. I particularly remember Michael Auer, Debbie Hadley, Patricia Barker, (who at that time, was a soloist), Maya Rosal, Ben Houk and Wade Walthall.
Kent did not rehearse as much as Francia...and he almost never rehearsed the Balanchine rep....except the stage rehearsals. He was occupied rehearsing his own ballets and choreographing new ones. (There were many of those). I remember the amount of work it took to create CARMINA BURANA (which is still in the repertoire). It was very successful, and to this day...I find myself humming certain melodies. (I should say here that Michael JACKSON, who was a good friend of mine, used the first section of Carmina in certain introductions to many of his concerts).
There was another pianist there who rehearsed the company...(named Joan)...very nice person....although not really a soloist....but a good pianist. She did play several of the solo piano ballets, but gradually those were all assigned to me as well as all new ballets done by guest choreographers....such as John Clifford, with whom I often worked there as well as NYCB...where I first met him. He was a most talented dancer, and soon became a principal soloist. Also he was a very quick study...and so could be just 'thrown into' a major role at a moment's notice. When he left to form his own company in Los Angeles, I thought the company had lost a terrific dancer. But he wanted to spread his wings, and so Mr. Balanchine helped him get started there....and backed him 100%. John has never forgotten Mr. B's assistance, and frequently speaks of that. Oddly enough, I am contact with John via Facebook, and enjoy his posts and those of his ballets. (A very good friend of mine...Marilee Stiles Stern....also went to LA to join John's Company.) John has sent me several of my solos with Seattle Symphony, and piano solos....as I played all of his works at PNB. (He is very thoughtful.) The Ravel Concerto in G Major...is one of those works...and is one of my favorite concertos. Also some Satie pieces....one of which just came on the radio here...(who says there is no synchronicity in life??!)
One of the works choreographed by Kent was a two-piano work of Rachmaninoff (very difficult for the pianists). I did enjoy performing this work with my duo partner, Allan Dameron, on stage with the dancers! One incident which occured during a performance of this work, caused me great panic....as the light above MY piano (not Allan's) went off in the middle of the last movement. Because the stage lights were on...I could see the music. But I knew the movement (and the ballet) would soon end...and all the stage lights would dim and then just go off! So I carefully placed my left hand on the keys (lower on the keyboard)..to be able to end the piece without error and played only with my right hand for about two bars before that. Then the lights dimmed, and gradually I could no longer see the music or the keyboard! Rico Chiarelli (our lighting designer par excellence) saw the impending catastrophe coming, and ran up to the stage to see if anything could be done about MY piano light. No such luck!! But thank goodness I had the foresight to put my hand on the keys for the ending chords! And so everything finished nicely! Rico was so apologetic for this...although it really wasn't his fault. However, after the show, he installed not one, but two lights above my piano. Then there would be a backup light!!! (In case one went out!) I never hesitate to remind him about this incident...in case he should forget! All these years later, we still laugh about it!! During this ballet, the dancers would dance over to my piano, and sing a little ditty....that ended in..."Minnie ha ha...Hi Aunt DD"....It was all I could do NOT to laugh at this during the performance.
There have been so many incidents over the years....humorous and otherwise, it is difficult to select just a few. However, I do recall a trip to Ellensburg, WA, for some performances there. There was a bus for the company, however, my friend Wade, with whom I had become friendly, decided he wanted to drive and persuaded me to come with him. Instead of going on Snoqualmie Pass (which would have been sensible and safe)...he wanted to go via CHINOOK PASS...which, unknown to us, was very curvy and closed early in the season. (VERY EARLY, as we were to learn). So in his Mazda RX 7 we started out. Very soon after we entered the Pass, it began snowing. And continued....and continued!!! Until there was so much snow, the car was having problems. And then the chains, which he put on, got wound around the axle!!! Then we were really stuck. Wade could not get the chains unwound, plus he had NO winter gloves. Talk about being unprepared! We waited in the car on the side of the road...and finally a truck came by...and the driver assisted him with the chains. Also gave us directions on how to exit the pass as soon as possible. That kind man told that the pass had CLOSED...and we shouldn't be driving in it! Ha! (I certainly knew that..). Anyway finally we made our way downhill to the end of the pass....and entered Ellensberg. Upon arriving at the hotel, we saw Kent and Francia waiting OUTSIDE for us...they were very worried and had called the state patrol. I was so glad to see them....!!! and thankful to have arrived safely. Let me tell you, that was one horror-filled trip....and I was quite furious with Wade for not knowing better!!!!
Saturday, March 14, 2015
Tuesday, January 13, 2015
Tuesday, June 17, 2014
ZURICH COMPANY TOUR TO WASHINGTON D.C. (with Rudi Nureyev): MR. BALANCHINE'S PASSING
These stories begin with the Zurich company still in residence, but near the end of the regime. Mr. Balanchine had returned to NYC, and we were rehearsing for our American tour to Washington D.C. Rudolph Nureyev had choreographed a ballet called "MANFRED" to the Tchaikovsky Manfred Symphony, roughly the story of Byron. He was dancing the lead role, of course. This was a huge ballet and used everyone in the company. I was playing the piano from the orchestral score, not so easy, but I managed. Sometimes Rudi tended to over-choreograph the music....and once I told him that! He took it well, and just said he agreed with me. At times he got so caught up in the steps that he would forget to listen to the music....(at least, that was my analysis.) It was exciting and stimulating for the dancers to be in class with Rudi (not to mention rehearsals)...he was always very entertaining! I shall never forget that he always wore a woolen cap in class....he believed that was a deterrent against illness....to keep one's head warm! (I remembered this in later years...to always keep my head warm, and gloves on my hands outdoors.)
There were several other ballets being presented in Washington as well....one was a Dohnanyi Piano Concerto called "VARIATIONS ON A NURSERY RHYME" (on the theme of "Twinkle Twinkle Little Star"). That may sound simple, but the piece develops into a huge tour de force after a thunderous orchestral introduction followed by the 'Twinkle Twinkle' Theme played on the piano. The choreographer, (whose name escapes me at this moment) was Hungarian. Our Dutch conductor, Andre Presser, was going to be on the podium, for which I was grateful.
The night before we left on this trip (in Zurich) I had the most vivid dream.....in which Mr. B. died! I was so upset in the dream, and when I awoke, was crying. I told Chrissy (my roommate) about it, and she became very disturbed as well. However, we got ourselves ready and departed for the bus at the Opernhaus which was to transport us to the airport. Once there, I began to feel a bit better and tried not to think about that dream. I purchased a coffee and a magazine (still no cellphones) and sat down in the Swissair Terminal waiting area. The flight was very pleasant, (no bumps or sudden drops) and I became calm. We landed at JFK, where we were to be transported onto a bus for Washington D.C. However, upon deplaning, Chrissy and I saw the company's agent (Francis Francis) who rushed up to us...."Mr. B. is gone," he said....and I just gasped! The dream was accurate (this has happened many times to me....so now I no longer question them). Pat was sobbing, as was Chrissy, and I was in shock! How could this happen? As the reality of this horrible news set in, my mind was reeling. We still had to go to Washington and perform...(even though there was to be a candlelight ceremony at the State Theater for him, we would NOT be able to attend.
While on the bus many scenes of Mr. B drifted through my head....I was having trouble wrapping my mind around this horrible happening! So many people would be affected by this....the NYCB, the dancers, musicians and personnel in that organization....not to mention the ENTIRE BALLET WORLD!! I felt like I was living in a nightmare....one from which I would not awaken. I also thought it was too soon for Mr. B to be leaving all of us. And this made me unutterably sad. The entire thing was so surreal...I just could not accept it.
It seemed overwhelming to have to perform just now after what had happened. BUT, the show must go on! There wasn't a way out of that one! Not if you are a performer. It is a code I have lived by all my life
as well as my friends who are performers. Most people cannot even begin to understand this. I have performed with bronchitis and a 104 degree fever...and while playing, am NOT sick at all. Then afterwards, the illness returns. Very odd!
We arrived in Washington many hours later, and after checking into our hotel (can't recall if it was the HOLIDAY INN or the WATERGATE), went to eat dinner. Then I went to bed immediately, as I had an early morning orchestra rehearsal for the Dohnanyi piece. I was so tired from the traveling, jet lag, and grief, that there was no problem falling asleep.
I awoke the next morning with a heavy heart....as I recalled immediately what had transpired. My actions felt wooden....like sleepwalking! But I forced myself to attention, ate breakfast, and walked to the Kennedy Center Opera House. It helped to clear the cobwebs from my brain. Once there I began to practice the piano on which I would be performing in the pit. The orchestra had not yet arrived, but Andre (conductor) was present. He was in total disbelief, but both of us knew how to keep our feelings to ourselves. Others in the orchestra would not be able to identify with the level of grief we were experiencing. So when everyone was present, Andre made a short announcement about Mr. Balanchine, and then we began the rehearsal. I was able to concentrate fully on playing, for which I was grateful. After the orchestral rehearsal, I went upstairs to the ballet studio, to play for the first dance rehearsal. (Someone else had played class that day as I was busy with the orchestra. Thank goodness for small favors! I believe that a completely different pianist had been recruited from a school in Washington to play ALL classes, so I didn't have that particular duty.
Rudi walked into the studio and immediately came over to me and Christine to express his heartfelt sympathies. (He knew both of us quite well). I could see that he was very upset by the dreadful news....he was very fond of Mr. B and respected him so much. Our first rehearsal was MANFRED with Rudi. He was very low-key for the entire time....everyone was. The dancers were doing their very best, but no one felt much like dancing and I didn't feel like playing. But so what? You didn't get to just stop....not in this profession! The next rehearsal was the Dohnanyi piece, which went quite well actually. Pat was as quiet as I had ever seen her. She was struggling to keep herself together, as we all were.
After the rehearsal, I recall that Chrissy, Elise and I went out for lunch, and then returned to the hotel for a short nap. The first performance was that evening (not much time to recover from the overseas trip!) This was par for the course, due to financial considerations. Sponsors never wanted to pay more than was absolutely necessary! I still felt as though I were walking underwater, and prayed that feeling would disappear. I needed my wits about me to perform that Dohnanyi piece (very difficult for the piano soloist). I did manage to sleep for a short while, then got up to shower, dress and return to the theater. (When people ask me what ELSE I do on these tours, I just laugh. I see the theater, the piano, the hotel and a restaurant or two, and that is it!! No time for much unless we have a day off, which is rare! And often I sleep that day, order room service and watch TV! One day I would like to re-visit some of the cities in which I have performed, and be a real tourist!) Anyway I had a chance to warm up again on the Steinway, and then relax as much as possible in the orchestral lounge. My number was first on the program, for which I was thankful. Half-hour was called....(the first alert for the performance), and then 15 minutes was the next alert. At that point I re-entered the pit and sat down at the piano. I always feel better sitting AT the piano than anywhere else. One by one the orchestra members entered the pit, and finally the 5-minute warning bell was sounded. The players all tuned to the piano "A"....then Andre walked into the pit...the orchestra stood, he bowed, then gestured to me...and I bowed (as the soloist) and the audience applauded all of us. (Here I must say that this pit was visible from the audience....many are not.)
THEN...Pat walked on stage with a glass and a bottle of vodka!! (I had no idea she was going to make an appearance). She made a short speech of welcome, and then announced that GEORGE BALANCHINE, our beloved Artistic Director had passed, and she wanted to dedicate the evening's performance to him! At this point, reality set in (for me). And I burst into tears at the piano....(in full view of the audience.) I tried to get myself under control, but was having trouble. Andre looked at me and mouthed the words: "Are you OK?" I nodded and gestured for him to proceed. I dimly realized that the audience could see me sobbing! But I knew that the bombastic orchestral introduction was quite long...at least a minute...and I would be able to control my sobs by the end of it. I had to, that was all. And that is what happened. Somehow I became calm, and played the simple little tune of "TWINKLE TWINKLE LITTLE STAR," followed by a huge tour de force of pianism and technical difficulty. It came off without a hitch, thank goodness. I just played my heart out and thought of nothing but the music! At the end of the performance there was a huge ovation for everyone. But when I walked onstage (at this point I could walk without assistance) there was thunderous applause, a standing ovation and catcalls! The orchestra also stood and applauded for me. I saw Rudi applauding for me in the wings, and Pat as well. I was very happy the performance had gone so well, and equally happy that it was over! It was a very emotional moment for everyone! I shall never forget it!
There were several other ballets being presented in Washington as well....one was a Dohnanyi Piano Concerto called "VARIATIONS ON A NURSERY RHYME" (on the theme of "Twinkle Twinkle Little Star"). That may sound simple, but the piece develops into a huge tour de force after a thunderous orchestral introduction followed by the 'Twinkle Twinkle' Theme played on the piano. The choreographer, (whose name escapes me at this moment) was Hungarian. Our Dutch conductor, Andre Presser, was going to be on the podium, for which I was grateful.
The night before we left on this trip (in Zurich) I had the most vivid dream.....in which Mr. B. died! I was so upset in the dream, and when I awoke, was crying. I told Chrissy (my roommate) about it, and she became very disturbed as well. However, we got ourselves ready and departed for the bus at the Opernhaus which was to transport us to the airport. Once there, I began to feel a bit better and tried not to think about that dream. I purchased a coffee and a magazine (still no cellphones) and sat down in the Swissair Terminal waiting area. The flight was very pleasant, (no bumps or sudden drops) and I became calm. We landed at JFK, where we were to be transported onto a bus for Washington D.C. However, upon deplaning, Chrissy and I saw the company's agent (Francis Francis) who rushed up to us...."Mr. B. is gone," he said....and I just gasped! The dream was accurate (this has happened many times to me....so now I no longer question them). Pat was sobbing, as was Chrissy, and I was in shock! How could this happen? As the reality of this horrible news set in, my mind was reeling. We still had to go to Washington and perform...(even though there was to be a candlelight ceremony at the State Theater for him, we would NOT be able to attend.
While on the bus many scenes of Mr. B drifted through my head....I was having trouble wrapping my mind around this horrible happening! So many people would be affected by this....the NYCB, the dancers, musicians and personnel in that organization....not to mention the ENTIRE BALLET WORLD!! I felt like I was living in a nightmare....one from which I would not awaken. I also thought it was too soon for Mr. B to be leaving all of us. And this made me unutterably sad. The entire thing was so surreal...I just could not accept it.
It seemed overwhelming to have to perform just now after what had happened. BUT, the show must go on! There wasn't a way out of that one! Not if you are a performer. It is a code I have lived by all my life
as well as my friends who are performers. Most people cannot even begin to understand this. I have performed with bronchitis and a 104 degree fever...and while playing, am NOT sick at all. Then afterwards, the illness returns. Very odd!
We arrived in Washington many hours later, and after checking into our hotel (can't recall if it was the HOLIDAY INN or the WATERGATE), went to eat dinner. Then I went to bed immediately, as I had an early morning orchestra rehearsal for the Dohnanyi piece. I was so tired from the traveling, jet lag, and grief, that there was no problem falling asleep.
I awoke the next morning with a heavy heart....as I recalled immediately what had transpired. My actions felt wooden....like sleepwalking! But I forced myself to attention, ate breakfast, and walked to the Kennedy Center Opera House. It helped to clear the cobwebs from my brain. Once there I began to practice the piano on which I would be performing in the pit. The orchestra had not yet arrived, but Andre (conductor) was present. He was in total disbelief, but both of us knew how to keep our feelings to ourselves. Others in the orchestra would not be able to identify with the level of grief we were experiencing. So when everyone was present, Andre made a short announcement about Mr. Balanchine, and then we began the rehearsal. I was able to concentrate fully on playing, for which I was grateful. After the orchestral rehearsal, I went upstairs to the ballet studio, to play for the first dance rehearsal. (Someone else had played class that day as I was busy with the orchestra. Thank goodness for small favors! I believe that a completely different pianist had been recruited from a school in Washington to play ALL classes, so I didn't have that particular duty.
Rudi walked into the studio and immediately came over to me and Christine to express his heartfelt sympathies. (He knew both of us quite well). I could see that he was very upset by the dreadful news....he was very fond of Mr. B and respected him so much. Our first rehearsal was MANFRED with Rudi. He was very low-key for the entire time....everyone was. The dancers were doing their very best, but no one felt much like dancing and I didn't feel like playing. But so what? You didn't get to just stop....not in this profession! The next rehearsal was the Dohnanyi piece, which went quite well actually. Pat was as quiet as I had ever seen her. She was struggling to keep herself together, as we all were.
After the rehearsal, I recall that Chrissy, Elise and I went out for lunch, and then returned to the hotel for a short nap. The first performance was that evening (not much time to recover from the overseas trip!) This was par for the course, due to financial considerations. Sponsors never wanted to pay more than was absolutely necessary! I still felt as though I were walking underwater, and prayed that feeling would disappear. I needed my wits about me to perform that Dohnanyi piece (very difficult for the piano soloist). I did manage to sleep for a short while, then got up to shower, dress and return to the theater. (When people ask me what ELSE I do on these tours, I just laugh. I see the theater, the piano, the hotel and a restaurant or two, and that is it!! No time for much unless we have a day off, which is rare! And often I sleep that day, order room service and watch TV! One day I would like to re-visit some of the cities in which I have performed, and be a real tourist!) Anyway I had a chance to warm up again on the Steinway, and then relax as much as possible in the orchestral lounge. My number was first on the program, for which I was thankful. Half-hour was called....(the first alert for the performance), and then 15 minutes was the next alert. At that point I re-entered the pit and sat down at the piano. I always feel better sitting AT the piano than anywhere else. One by one the orchestra members entered the pit, and finally the 5-minute warning bell was sounded. The players all tuned to the piano "A"....then Andre walked into the pit...the orchestra stood, he bowed, then gestured to me...and I bowed (as the soloist) and the audience applauded all of us. (Here I must say that this pit was visible from the audience....many are not.)
THEN...Pat walked on stage with a glass and a bottle of vodka!! (I had no idea she was going to make an appearance). She made a short speech of welcome, and then announced that GEORGE BALANCHINE, our beloved Artistic Director had passed, and she wanted to dedicate the evening's performance to him! At this point, reality set in (for me). And I burst into tears at the piano....(in full view of the audience.) I tried to get myself under control, but was having trouble. Andre looked at me and mouthed the words: "Are you OK?" I nodded and gestured for him to proceed. I dimly realized that the audience could see me sobbing! But I knew that the bombastic orchestral introduction was quite long...at least a minute...and I would be able to control my sobs by the end of it. I had to, that was all. And that is what happened. Somehow I became calm, and played the simple little tune of "TWINKLE TWINKLE LITTLE STAR," followed by a huge tour de force of pianism and technical difficulty. It came off without a hitch, thank goodness. I just played my heart out and thought of nothing but the music! At the end of the performance there was a huge ovation for everyone. But when I walked onstage (at this point I could walk without assistance) there was thunderous applause, a standing ovation and catcalls! The orchestra also stood and applauded for me. I saw Rudi applauding for me in the wings, and Pat as well. I was very happy the performance had gone so well, and equally happy that it was over! It was a very emotional moment for everyone! I shall never forget it!
Tuesday, June 3, 2014
ADVENTURES IN ZURICH WITH MR. BALANCHINE, PAT, AND DANCERS
Life in Zurich was very pleasant for me as well as the others, for the most part. We worked a great deal, but the schedule in a European Theater is usually quite congenial. There were times when Pat asked us to work longer hours than contracted, but in those instances people had a choice. Except for me...she usually needed me for rehearsals. I lived in a beautiful apartment in a town called THALWIL, about 10 miles from the Operahouse. The apartment was on the ground floor with a large yard (many flowers) so Chrissy's (Christine Redpath was my roommate), collie dog, Miss Julie, could run around freely. On the floor below (where the garage was located) there was another room that belonged to my apartment. I put my piano in that room, which was next door to the sauna and cold plunge. Chrissy and I made good use of that sauna! Now that was luxury. Fortunately, the lady who owned the house liked both dogs and music! There were three other apartments in this dwelling....and I do recall that one of my neighbors wasn't so fond of my piano playing in the early morning...but that didn't stop me. I did have the landlady's blessing! My good friends, Debbie and Jonas, lived close by in a lovely penthouse apartment (also in Thalwil) with a large deck that wrapped around their apartment. So between the both places, we had the best of both worlds!
I recall one of Mr. Balanchine's visits which turned into a nightmare! He wasn't feeling well (no one knew what was wrong). Pat and I were sitting with him in the theater for a stage rehearsal....he was between the two of us. The Operahouse stage manager dismissed the crew, as the rehearsal time was finished! (They were all very conscious of overtime, and clocks!). Mr. Balanchine became enraged....he stood up and yelled, "NO! NO! NOT YET FINISHED!!!" And then he slammed his fist on the table in front of us! His face turned purple, and I thought he would have a heart attack! Both Pat and I were very alarmed, and raced to the stage to ask everyone to please continue the rehearsal. Then we called Herr Direktor Dr. Drese who came immediately to the stage. He persuaded the crew to stay, saying he would pay the overtime. (That almost never happened, but obviously he did not wish to cause Mr. Balanchine to leave the theater.) So....the rehearsal continued. I should say here that Mr. B was not accustomed to having his rehearsals stopped or supervised. But this was a European theatre, and he did not have the same authority as he did in the NYCB. For the next several days, we all were walking on eggshells, fearing another outburst like that one. There were several more stage rehearsals, but all of them went very smoothly. Everyone was on their best behavior, including the stage crew. I remember breathing a sign of relief, after the first performance had finished, and all had gone well. Mr. Balanchine left for NYC....it was not long afterwards that he went into hospital. Even after that episode it didn't occur to me that Mr. B was mortal, and could become incapacitated, which is what happened. I had always thought of him as invincible and indestructible. But of course, no one is...and we were all to learn very soon that he would not last long!
Another episode I remember well concerned the ballet LIEBESLIEDER WALZER, before it was scheduled to premier in Zurich. Karin von Aroldingen came to stage the entire ballet, and she brought us all gifts....hats and scarves she had knitted herself! I had been put in charge of the music (by Mr. B himself)....the four (4) singers. That turned out to be a hornet's nest! Two of the singers (both men) were very below par...and I was having difficulty with them. I rehearsed them (playing the piano, and coaching the singing) every day. However, they were just really POOR, and I realized they would not be able to get through an entire performance, let alone many shows without mishap. (This was reminiscent of the Berlin filming singers.) So I went upstairs to the DIREKTION, and told them exactly that. I knew that the Opernhaus was trying to save money, and had obviously hired two less proficient singers (reflected in their pay scale). However, that was not going to work, said I. Mr. Balanchine had told me that if the singers were not topnotch, then he did not want the ballet presented, and on my recommendation would just cancel it! Well, that put the fear of God into them....and they agreed to hire two competent male singers! I couldn't believe they ever argued with me at all, but they did....until I delivered that ultimatum! So I was provided with a cast of four (4) good singers (with decent backups as well), who needed rehearsing, of course....that was my job. But at least I had the necessary components for decent musical performances! They did go splendidly, and were all well received by the audiences in Zurich....even better than in New York. Mr. Balanchine was very pleased, and frankly, I was relieved that the singers had performed so well. My duo-partner was Andre Presser, a Dutch musician and pianist who also conducted for the Zurich Ballet...as well as many other companies. I always enjoyed my concerto performances when he was wielding the baton. Together we performed on many gala programs in Europe: Monte Carlo, Madrid, Granada, Turin, and many other cities, including Washington D.C. (Unfortunately I recently learned that Andre had passed in April of this year...which saddened me a great deal. Andre was a heavy smoker, which may have contributed to his illness. We were good friends, and enjoyed our work and performances together. That is not always the case....some conductors are less congenial and competent than others.....one in Seattle comes to mind.)
I distinctly remember the first time I performed 'THE CONCERT' in Zurich....choreographed by Jerome (Jerry) Robbins. I rehearsed this ballet often in NYCB, but had never performed it there. My friend and colleague, Jerry ZIMMERMAN, was always the onstage pianist for that work. He was so perfect for the role, with his curly blonde hair, and taciturn demeanor. Jerry performed this ballet until the end of his life....which was over too soon, sadly. This was during the period of the AIDS epidemic, and no one knew what was happening. To continue: I was cast as the onstage pianist, and I remember Tommy Abbott coming to stage, rehearse and coach the ballet...Jerry would come later. (Tommy, by the way, was one of the originals in the film of WEST SIDE STORY. I didn't meet him until he came to the NYCB as Jerry's assistant.) This ballet is a 'must' for anyone's bucket list. I still laugh while watching it, and I have performed it many, many times. There is a great deal of acting involved for everyone, including the pianist. For example, there is a grand entrance for him or her, which includes an entire pantomime at the piano, before the ballet even begins! I had great fun playing the Chopin pieces, and interacting with the various dancer characters onstage! At the conclusion, the pianist becomes furious with everyone, and taking a butterfly net, chases all the dancers (who have since metamorphed into butterflies) around the stage, and then off. At which point, the curtain slams down with a bang! I wouldn't be able to perform the ballet now, simply because I can no longer run! In Zurich one reviewer wrote: "in the event Miss Chilgren should decide to stop concertizing, she definitely has a future in comedy!" I have to say, I loved that review!
While living in Zurich, I was asked to be Piano Soloist for the Basel Ballet Company, by the Director, Heinz SPOERLI, who actually was Swiss. (He is presently Director of the ZURICH COMPANY.) Of course, I requested permission from the Direktor of the Zurich Opernhaus, as well as Pat and Mr. Balanchine. They were all very obliging in this, as long as my performing schedules did not conflict. Since Basel was only an hour's drive from Zurich, I elected to drive each time, instead of taking the train. Most of the time I stayed with my good friend, Mandy Bennett (Amanda), although I could have opted for a hotel. Instead I asked for the per diem allowed for the hotel, and used the money for dinners with Mandy and our friend, Sheldon Schwartz. I became acquainted with many of the dancers, including Uko Gorter (who later came to Seattle to join PNB, and Susan, another dancer friend who later married Uko. They live in Seattle...and Uko often performs character roles with PNB). Another dancer, with whom I became friendly is Martin Schlepfer....who was an extremely gifted dancer. (He began as a figure skater, actually). Martin became Direktor of the Berner Ballet, and then later went to Dusseldorf. He has become a well-known choreographer in Europe, and earned many awards in that field. Anyway, Heinz choreographed many piano solo ballets....to music of Rachmaninoff (Preludes) and various Liszt Etudes. I was very busy there as well as in Zurich...but I really loved it all! The Basler Theatre was very modern, and had an exceptionally good canteen....one could order an excellent meal, (as in Zurich) for much less money than in a restaurant. American theaters do not offer this amenity....they could learn much from their European counterparts.
Speaking of canteens, I recall the day in the Zurich canteen, when the entire Opera Orchestra was present....many were members of the famed TONHALLE Orchestra of Zurich. A very friendly fellow sat down next to me and offered me a glass of wine! Since I was finished performing for the evening, I felt free to accept, as long as it wasn't too much. (I needed to drive home to Thalwil after performances). So I accepted his offer and we talked until the canteen closed! This was the first time I met Christian Florea, a fabulous Rumanian cellist, although of course, he no longer lived in Rumania. We became very good friends, duo-partners, and more, eventually. My adventures with Christian would fill a book, so I won't start on them here. However, that period of time was very interesting and musically stimulating for me. I learned a great deal of the cello/piano repertoire, entered cello-piano duo competitions, played many concerts with him, went on many concert tours in various parts of Europe as well. Our partnership was extensive, and we also appeared on several radio broadcasts. I loved all of this, as you might imagine. At one point, I brought Christian to America to teach and give master classes in one of the New York State Universities....where one of my good friends was chair of the music department. (I also was on the faculty of this University during the summer...and both Christian and I taught and presented duo-recitals.)
Just to backtrack a bit....there is one story which bears repeating: we were driving from Zurich to Florence, Italy for a group of concerts. At one of the borders we were stopped for many hours....the car was searched, and Christian was strip-searched thoroughly. Why? He was Rumanian, with no official passport...only asylum papers for Switzerland. He had fled his country while on tour with a string quartet at age 17....to escape the cruel dictator there. When he was 15 years old, his father was shot to death on a bus in front of his eyes, for being an activist! This was the world in which he had lived and been raised, about which I knew nothing. After several hours, we were released....and I recall Christian telling me that I was so fortunate to have an AMERICAN passport. I never forgot that! It is true....I was never searched, nor questioned because of that passport! I learned much on these excursions, and from him. Americans know nothing of what goes on in other countries, and some of the atrocities that occur. The sort of suspicion and distrust that is fostered in young people who have grown up in that atmosphere, is not to be believed. Christian distrusted almost every older person he met from Rumania, for example....and other countries with similar dictator type of governments. He was very explicit with me....that I should NEVER answer any questions about him from anyone. He did trust me....I was so naive about so much, and am sure that was evident. Unfortunately, I have lost touch with him, which happens in life all too often....although I have tried to find him, on Facebook, and other places, but to no avail. I think perhaps he lives in Spain now, and may be conducting....but other than that, I know nothing else. Perhaps one day I will locate him. I do hope so.
I recall one of Mr. Balanchine's visits which turned into a nightmare! He wasn't feeling well (no one knew what was wrong). Pat and I were sitting with him in the theater for a stage rehearsal....he was between the two of us. The Operahouse stage manager dismissed the crew, as the rehearsal time was finished! (They were all very conscious of overtime, and clocks!). Mr. Balanchine became enraged....he stood up and yelled, "NO! NO! NOT YET FINISHED!!!" And then he slammed his fist on the table in front of us! His face turned purple, and I thought he would have a heart attack! Both Pat and I were very alarmed, and raced to the stage to ask everyone to please continue the rehearsal. Then we called Herr Direktor Dr. Drese who came immediately to the stage. He persuaded the crew to stay, saying he would pay the overtime. (That almost never happened, but obviously he did not wish to cause Mr. Balanchine to leave the theater.) So....the rehearsal continued. I should say here that Mr. B was not accustomed to having his rehearsals stopped or supervised. But this was a European theatre, and he did not have the same authority as he did in the NYCB. For the next several days, we all were walking on eggshells, fearing another outburst like that one. There were several more stage rehearsals, but all of them went very smoothly. Everyone was on their best behavior, including the stage crew. I remember breathing a sign of relief, after the first performance had finished, and all had gone well. Mr. Balanchine left for NYC....it was not long afterwards that he went into hospital. Even after that episode it didn't occur to me that Mr. B was mortal, and could become incapacitated, which is what happened. I had always thought of him as invincible and indestructible. But of course, no one is...and we were all to learn very soon that he would not last long!
Another episode I remember well concerned the ballet LIEBESLIEDER WALZER, before it was scheduled to premier in Zurich. Karin von Aroldingen came to stage the entire ballet, and she brought us all gifts....hats and scarves she had knitted herself! I had been put in charge of the music (by Mr. B himself)....the four (4) singers. That turned out to be a hornet's nest! Two of the singers (both men) were very below par...and I was having difficulty with them. I rehearsed them (playing the piano, and coaching the singing) every day. However, they were just really POOR, and I realized they would not be able to get through an entire performance, let alone many shows without mishap. (This was reminiscent of the Berlin filming singers.) So I went upstairs to the DIREKTION, and told them exactly that. I knew that the Opernhaus was trying to save money, and had obviously hired two less proficient singers (reflected in their pay scale). However, that was not going to work, said I. Mr. Balanchine had told me that if the singers were not topnotch, then he did not want the ballet presented, and on my recommendation would just cancel it! Well, that put the fear of God into them....and they agreed to hire two competent male singers! I couldn't believe they ever argued with me at all, but they did....until I delivered that ultimatum! So I was provided with a cast of four (4) good singers (with decent backups as well), who needed rehearsing, of course....that was my job. But at least I had the necessary components for decent musical performances! They did go splendidly, and were all well received by the audiences in Zurich....even better than in New York. Mr. Balanchine was very pleased, and frankly, I was relieved that the singers had performed so well. My duo-partner was Andre Presser, a Dutch musician and pianist who also conducted for the Zurich Ballet...as well as many other companies. I always enjoyed my concerto performances when he was wielding the baton. Together we performed on many gala programs in Europe: Monte Carlo, Madrid, Granada, Turin, and many other cities, including Washington D.C. (Unfortunately I recently learned that Andre had passed in April of this year...which saddened me a great deal. Andre was a heavy smoker, which may have contributed to his illness. We were good friends, and enjoyed our work and performances together. That is not always the case....some conductors are less congenial and competent than others.....one in Seattle comes to mind.)
I distinctly remember the first time I performed 'THE CONCERT' in Zurich....choreographed by Jerome (Jerry) Robbins. I rehearsed this ballet often in NYCB, but had never performed it there. My friend and colleague, Jerry ZIMMERMAN, was always the onstage pianist for that work. He was so perfect for the role, with his curly blonde hair, and taciturn demeanor. Jerry performed this ballet until the end of his life....which was over too soon, sadly. This was during the period of the AIDS epidemic, and no one knew what was happening. To continue: I was cast as the onstage pianist, and I remember Tommy Abbott coming to stage, rehearse and coach the ballet...Jerry would come later. (Tommy, by the way, was one of the originals in the film of WEST SIDE STORY. I didn't meet him until he came to the NYCB as Jerry's assistant.) This ballet is a 'must' for anyone's bucket list. I still laugh while watching it, and I have performed it many, many times. There is a great deal of acting involved for everyone, including the pianist. For example, there is a grand entrance for him or her, which includes an entire pantomime at the piano, before the ballet even begins! I had great fun playing the Chopin pieces, and interacting with the various dancer characters onstage! At the conclusion, the pianist becomes furious with everyone, and taking a butterfly net, chases all the dancers (who have since metamorphed into butterflies) around the stage, and then off. At which point, the curtain slams down with a bang! I wouldn't be able to perform the ballet now, simply because I can no longer run! In Zurich one reviewer wrote: "in the event Miss Chilgren should decide to stop concertizing, she definitely has a future in comedy!" I have to say, I loved that review!
While living in Zurich, I was asked to be Piano Soloist for the Basel Ballet Company, by the Director, Heinz SPOERLI, who actually was Swiss. (He is presently Director of the ZURICH COMPANY.) Of course, I requested permission from the Direktor of the Zurich Opernhaus, as well as Pat and Mr. Balanchine. They were all very obliging in this, as long as my performing schedules did not conflict. Since Basel was only an hour's drive from Zurich, I elected to drive each time, instead of taking the train. Most of the time I stayed with my good friend, Mandy Bennett (Amanda), although I could have opted for a hotel. Instead I asked for the per diem allowed for the hotel, and used the money for dinners with Mandy and our friend, Sheldon Schwartz. I became acquainted with many of the dancers, including Uko Gorter (who later came to Seattle to join PNB, and Susan, another dancer friend who later married Uko. They live in Seattle...and Uko often performs character roles with PNB). Another dancer, with whom I became friendly is Martin Schlepfer....who was an extremely gifted dancer. (He began as a figure skater, actually). Martin became Direktor of the Berner Ballet, and then later went to Dusseldorf. He has become a well-known choreographer in Europe, and earned many awards in that field. Anyway, Heinz choreographed many piano solo ballets....to music of Rachmaninoff (Preludes) and various Liszt Etudes. I was very busy there as well as in Zurich...but I really loved it all! The Basler Theatre was very modern, and had an exceptionally good canteen....one could order an excellent meal, (as in Zurich) for much less money than in a restaurant. American theaters do not offer this amenity....they could learn much from their European counterparts.
Speaking of canteens, I recall the day in the Zurich canteen, when the entire Opera Orchestra was present....many were members of the famed TONHALLE Orchestra of Zurich. A very friendly fellow sat down next to me and offered me a glass of wine! Since I was finished performing for the evening, I felt free to accept, as long as it wasn't too much. (I needed to drive home to Thalwil after performances). So I accepted his offer and we talked until the canteen closed! This was the first time I met Christian Florea, a fabulous Rumanian cellist, although of course, he no longer lived in Rumania. We became very good friends, duo-partners, and more, eventually. My adventures with Christian would fill a book, so I won't start on them here. However, that period of time was very interesting and musically stimulating for me. I learned a great deal of the cello/piano repertoire, entered cello-piano duo competitions, played many concerts with him, went on many concert tours in various parts of Europe as well. Our partnership was extensive, and we also appeared on several radio broadcasts. I loved all of this, as you might imagine. At one point, I brought Christian to America to teach and give master classes in one of the New York State Universities....where one of my good friends was chair of the music department. (I also was on the faculty of this University during the summer...and both Christian and I taught and presented duo-recitals.)
Just to backtrack a bit....there is one story which bears repeating: we were driving from Zurich to Florence, Italy for a group of concerts. At one of the borders we were stopped for many hours....the car was searched, and Christian was strip-searched thoroughly. Why? He was Rumanian, with no official passport...only asylum papers for Switzerland. He had fled his country while on tour with a string quartet at age 17....to escape the cruel dictator there. When he was 15 years old, his father was shot to death on a bus in front of his eyes, for being an activist! This was the world in which he had lived and been raised, about which I knew nothing. After several hours, we were released....and I recall Christian telling me that I was so fortunate to have an AMERICAN passport. I never forgot that! It is true....I was never searched, nor questioned because of that passport! I learned much on these excursions, and from him. Americans know nothing of what goes on in other countries, and some of the atrocities that occur. The sort of suspicion and distrust that is fostered in young people who have grown up in that atmosphere, is not to be believed. Christian distrusted almost every older person he met from Rumania, for example....and other countries with similar dictator type of governments. He was very explicit with me....that I should NEVER answer any questions about him from anyone. He did trust me....I was so naive about so much, and am sure that was evident. Unfortunately, I have lost touch with him, which happens in life all too often....although I have tried to find him, on Facebook, and other places, but to no avail. I think perhaps he lives in Spain now, and may be conducting....but other than that, I know nothing else. Perhaps one day I will locate him. I do hope so.
Friday, May 30, 2014
DEPARTURE FROM NYC FOR SWITZERLAND
My departure from New York City took place after my trip to Europe, and hearing that VOICE in Venice. I spoke about my phone ringing in my apartment just as I entered it....it was Barbara Horgan, (Mr. Balanchine's assistant.) She told me the startling news that he wanted me to go to Geneva, and be piano soloist for that company. It was directed by Patricia Neary, (Colleen's older sister). I knew Colleen, but never had met Pat. Mr. B was the ARTISTIC DIRECTOR, and Pat was the Director...(meaning day to day). So although I had never been to Geneva, nor knew any of the people there, I WAS totally familiar with the work, of course. Pat had kindly arranged for me to stay with one of the dancers (Ellen was her name) until I could find a suitable apartment of my own. Barbara asked me to come to her office the next day to meet Pat (who was in town) and pick up my working visa and contract for the position. I did as she asked, and when I met Pat, thanked her profusely for arranging a place for me to stay temporarily. I also took the opportunity to pick up a few pieces of music from the music room (while there was no one there to question me!)
When I thought about Geneva, no picture came to my mind. (Not surprising, I dare say.) Actually I felt as though I was looking at a blank screen, or a brick wall. A very strange feeling. But I knew this was a definitive moment.... and there aren't too many of those in life. Although, I must say, this was one of many for me. A few days later, I left my NYC apartment (and Piano) with my friends, Marilee and Clorinda, who were doing their level best to remain cheerful. But all three of us were teary. While checking myself and baggage onto my flight, I thought of all the other times I had traveled, but with the assistance of others....baggage handlers, etc., thanks to being a part of the NYCB. I have said previously how convenient that was...and not fully appreciated until I was no longer part of that organization.
I purchased a coffee and a magazine, and sat down in the waiting area for Swissair. There were no cell phones at that time, so couldn't call anyone. So many things have changed since that era; young people these days cannot even imagine NOT having a cell phone or a gadget to listen to tapes. [At this very moment in time, am watching a retrospective of Johnny Carson's life and the TONIGHT SHOW. I always watched him and remember being so sad when his show ended....and recall Bette Midler singing to him..."ONE FOR MY BABY AND ONE MORE FOR THE ROAD." Another talk show host took over, Jay LENO, who was introduced to America on Johnny's show....(Jay had a lot of black hair then). And now he has retired, and Jimmy FALLON is the latest TONIGHT SHOW host. But none will ever come close to Johnny. He really was the quintessential talk show host. (And at this moment, David LETTERMAN is soon to retire; Barbara Walters HAS retired after 50 years on TV. Life moves on...and we all move with it. Johnny was a heavy smoker, and paid the price for that...he eventually died from a lung disease in 2005...don't know if it was emphysema. But for me, he was one of the funniest men in the world.]
Anyway the flight to Geneva was very smooth and comfortable. Swissair is (or was) one of the very best airlines, and the cuisine was excellent. It was the only airline I ever took to Europe during my 9 years of exile (!). None of the American airlines could compare....even the atmosphere in the Swissair terminal was calm and very organized...giving off an air of extreme competence.
My arrival in Geneva was more or less uneventful. The manager of the company, whose name was Pierre, met me...holding a sign with my name on it! He was a rather unusual looking fellow, with dark eyes, and dark complected....and of course, fluent in English. He was Swiss-French, had been a dancer in the Geneva company, and then continued his career as an administrator. He drove me to Ellen's apartment, which (I think) was above a restaurant in the center of town. I recall the tiny elevator, which was a bit rickety...and ascended very slowly to her floor. It is odd how certain details stand out in one's mind....like that elevator, for example...and the smell of raclette and cheese fondue, which I grew to love while in Switzerland. Ellen took me on a walking tour of Geneva (not a huge city)...where I saw the famous flower clock downtown. The next day I took a bus and streetcar tour by myself...(that became my favorite way of sightseeing.) I would not have to worry about driving, directions, or parking and could just ride and look. (I highly recommend it).
My first day in the studio was very interesting. Pat was a very colorful character (she still is)! She always gave class and took it at the same time! I had never seen anyone do that. Her energy level was amazing, and didn't seem to flag. Even when she was sick, she used to say, "I'm sick PLUS I don't feel well!" (That was funny, to me anyway.) One of the ballets being taught was COPPELIA, and Mme. Danilova was there to stage it. She was a true Grande Dame, and always very entertaining. I adored the lady, as did most of her students at SAB where she taught. (She and Mr. B were famously close, and she always did as he wished....including setting Coppelia at NYCB. I had played for many of those rehearsals also. I recall the time when she and I decided to attend an opera at the GRANDE THEATRE DE GENEVE...after all, we were already there. The evening of the opera we were a bit late in leaving the studio, so out on the street and taking hold of each other's hands, we RAN up the hill to the front of the house. I have to say that lady could really RUN!!!
Two dancers (married) who became very close friends in Geneva were Deborah Dobson and Jonas Kage. They had been principal dancers in ABT (American Ballet Theater), and then were offered contracts in Geneva. Debbie and Jonas and I had many adventures together. I remember going cross country skiing with them and another guy (French), and at some point I just couldn't continue. My legs were giving out. Jonas just picked me up and carried me on his back down the slight hill. (Cross country skiing is more difficult than downhill skiing, in my opinion, anyway.) He was very strong, obviously...and I was very grateful. On another occasion (a few years later) we all went on a cruise on Jonas' cousin's yacht in the Bering Sea! That was fun! Since we were on the yacht a few days, we docked at a small island (I think the property was owned by Jonas' cousin) where there was a sauna. So Debbie and I got off the boat to enter the sauna....in towels. Everyone else inside was totally unclothed, and we were quite taken aback. One of the gentleman in the sauna was OUR dentist from Zurich....who waved at us as we walked in. I remember Debbie giggling so hard....but we didn't take our towels off. I have often laughed to myself at that one!
Over the next few years, many dancers from the NYCB came to Zurich, including one of my great friends....Christine Redpath, who is presently ballet mistress at NYCB. She began there (after her dancing was finished) by working for Jerry Robbins. I was able to return her sage advice (to me from years before)....'to never let Jerry know that one was upset by him.' Another dancer and wonderful friend, was Elise Flagg....who came there and danced with Rudolph Nureyev. He liked her very much...partly because she was so little, and he had no problem lifting her! And Elise was a very technically proficient dancer as well. Also her sister, Laura Flagg Pitts (who is much on my mind of later) came there with her husband, Bryan Pitts. Unfortunately, they didn't stay very long....only 9 months. Plus Debbie Austin (with then husband Hartmout), Amanda Bennett (before she went to Basel). Mandy became Director of the Basel Ballet School....and still is. She was a fantastic dancer; I have seen her on the ARTS CHANNEL here in Seattle, dancing with Sheldon Schwartz....Heinz Spoerli's PULCINELLA. A good friend from NYCB, Gerry Ebitz also came to Zurich (and later to PNB). He married Kay Preston...(who unfortunately passed away several years ago....she was murdered by an ex-boyfriend...a horror story if ever there was one.) Elizabeth Carr and Lucette Katerndahl also came to join the Geneva company, and moved to Zurich...but stayed only a short time.
One of my roommates, Laura Smeak, a fantastic and unusual dancer from NYC (not City Ballet, but another company), had a very wonderful sense of humor. She married a Swiss fellow who worked at CERN in Geneva, and now lives there (she moved back after Pat left Zurich). We have re-connected again via Facebook, for which I am most grateful. She and Elise and I were all great friends. She told me she has a son who is a huge fan of Michael Jackson's, and when she told him she had a good friend (Dianne) who had known Michael, he was just ecstatic. It is great to know that present day young people are finding Michael relevant. He was such a great artist and person....and his music is very popular. I find that wonderful...I cannot imagine anyone who would not love Michael's music. I just wish he were still here to compose more of it.
I remember when Elise moved to Zurich and lived in a very small apartment (Elise size) for a time, before her then husband, Michael Romano joined her. They found a larger apartment, and Michael (who already was a well-known chef) became the top chef in the best French restaurant in Zurich. Of course, we were all treated to fabulous dinners from his kitchen, as well as fantastic wines. Plus restaurant jaunts..Michael knew all the best places. One evening Rudi (Nureyev) was invited to dinner by Michael and Elise...(as well as Chrissy and myself...she was my roommate at that time). That was some evening! Rudi persuaded Michael to dance a tango with him in the living room! A few years back, I spoke with Michael on the phone, and asked him if he remembered that evening. He said, "Dianne, I am so glad you reminded me of that...I thought perhaps I had imagined the entire thing. And no one ever believes my story!" But it was definitely true....I WAS THERE!
There are so many stories circulating in my head...and not space or time enough to tell them all. But one comes to mind: On one of our vacation breaks, I took a trip to Majorca, to visit the home of Chopin, and see the caves and other sights. I went by myself, which turned out to be fun...I could do what I wanted when I wanted. Unfortunately, I came in contact with some tainted food in the HOTEL, of all things, near the end of the trip. So I was on the plane when the uncomfortable feelings began. Ugh! I just prayed that I would make it home (to Zurich) before a nasty accident happened. As luck would have it, I did make it home....just in time. The next few days I spent in bed, sick as a dog, and not able to work at all. The doctor was called (either by Chrissy or Albi, Pat's assistant)...and he came over. (Can you imagine house calls from a physician in America?) I had a particularly virulent form of food poisoning, and one just had to basically wait for it to pass. The phone rang, and it was Rudi (Nureyev), who said he knew I was sick, but was wondering if there was ANY possibility I could come in and play RUBIES (Stravinsky) for him? He wanted to learn the music first (by ear) before learning the steps to the ballet with his partner...who was going to be Elise! (That was a FIRST, don't know any other dancer who ever thought of doing that!!) And it was a testament to his thoroughness as an artist. Unfortunately, I told him, it was not possible for me to even sit at the piano, let alone play Stravinsky! He understood, and said he would call me the next day, which he did. I was still too ill to come, but thought I might be able to possibly come the following day. And he called yet again that day....and told me he would bring a bucket!!! Some beautiful flowers arrived at my apartment from him! Well, to make a long story a bit shorter, I did struggle out of bed to the studio that day...Chrissy drove me to the studio, which was of great assistance. And I was able to play all of the Capriccio for him...(he sat next to me at the piano during this session.) Instead of telling him the counts Mr. B had used for the choreography, I told him to count the music as HE HEARD it, which he did. That worked for him. Stravinsky isn't an easy composer to understand, but Rudi was a very musical person, and meticulous in his preparation. I played all the entrance passages several times for him, so he would know (without counting) when he needed to come onstage. There are several places in each movement for the principal couple to enter, so even with no steps learned as yet, he learned the music!!! I think this was the most unusual rehearsal I ever played...with the dancer sitting next to me on the piano bench!!!
When I thought about Geneva, no picture came to my mind. (Not surprising, I dare say.) Actually I felt as though I was looking at a blank screen, or a brick wall. A very strange feeling. But I knew this was a definitive moment.... and there aren't too many of those in life. Although, I must say, this was one of many for me. A few days later, I left my NYC apartment (and Piano) with my friends, Marilee and Clorinda, who were doing their level best to remain cheerful. But all three of us were teary. While checking myself and baggage onto my flight, I thought of all the other times I had traveled, but with the assistance of others....baggage handlers, etc., thanks to being a part of the NYCB. I have said previously how convenient that was...and not fully appreciated until I was no longer part of that organization.
I purchased a coffee and a magazine, and sat down in the waiting area for Swissair. There were no cell phones at that time, so couldn't call anyone. So many things have changed since that era; young people these days cannot even imagine NOT having a cell phone or a gadget to listen to tapes. [At this very moment in time, am watching a retrospective of Johnny Carson's life and the TONIGHT SHOW. I always watched him and remember being so sad when his show ended....and recall Bette Midler singing to him..."ONE FOR MY BABY AND ONE MORE FOR THE ROAD." Another talk show host took over, Jay LENO, who was introduced to America on Johnny's show....(Jay had a lot of black hair then). And now he has retired, and Jimmy FALLON is the latest TONIGHT SHOW host. But none will ever come close to Johnny. He really was the quintessential talk show host. (And at this moment, David LETTERMAN is soon to retire; Barbara Walters HAS retired after 50 years on TV. Life moves on...and we all move with it. Johnny was a heavy smoker, and paid the price for that...he eventually died from a lung disease in 2005...don't know if it was emphysema. But for me, he was one of the funniest men in the world.]
Anyway the flight to Geneva was very smooth and comfortable. Swissair is (or was) one of the very best airlines, and the cuisine was excellent. It was the only airline I ever took to Europe during my 9 years of exile (!). None of the American airlines could compare....even the atmosphere in the Swissair terminal was calm and very organized...giving off an air of extreme competence.
My arrival in Geneva was more or less uneventful. The manager of the company, whose name was Pierre, met me...holding a sign with my name on it! He was a rather unusual looking fellow, with dark eyes, and dark complected....and of course, fluent in English. He was Swiss-French, had been a dancer in the Geneva company, and then continued his career as an administrator. He drove me to Ellen's apartment, which (I think) was above a restaurant in the center of town. I recall the tiny elevator, which was a bit rickety...and ascended very slowly to her floor. It is odd how certain details stand out in one's mind....like that elevator, for example...and the smell of raclette and cheese fondue, which I grew to love while in Switzerland. Ellen took me on a walking tour of Geneva (not a huge city)...where I saw the famous flower clock downtown. The next day I took a bus and streetcar tour by myself...(that became my favorite way of sightseeing.) I would not have to worry about driving, directions, or parking and could just ride and look. (I highly recommend it).
My first day in the studio was very interesting. Pat was a very colorful character (she still is)! She always gave class and took it at the same time! I had never seen anyone do that. Her energy level was amazing, and didn't seem to flag. Even when she was sick, she used to say, "I'm sick PLUS I don't feel well!" (That was funny, to me anyway.) One of the ballets being taught was COPPELIA, and Mme. Danilova was there to stage it. She was a true Grande Dame, and always very entertaining. I adored the lady, as did most of her students at SAB where she taught. (She and Mr. B were famously close, and she always did as he wished....including setting Coppelia at NYCB. I had played for many of those rehearsals also. I recall the time when she and I decided to attend an opera at the GRANDE THEATRE DE GENEVE...after all, we were already there. The evening of the opera we were a bit late in leaving the studio, so out on the street and taking hold of each other's hands, we RAN up the hill to the front of the house. I have to say that lady could really RUN!!!
Two dancers (married) who became very close friends in Geneva were Deborah Dobson and Jonas Kage. They had been principal dancers in ABT (American Ballet Theater), and then were offered contracts in Geneva. Debbie and Jonas and I had many adventures together. I remember going cross country skiing with them and another guy (French), and at some point I just couldn't continue. My legs were giving out. Jonas just picked me up and carried me on his back down the slight hill. (Cross country skiing is more difficult than downhill skiing, in my opinion, anyway.) He was very strong, obviously...and I was very grateful. On another occasion (a few years later) we all went on a cruise on Jonas' cousin's yacht in the Bering Sea! That was fun! Since we were on the yacht a few days, we docked at a small island (I think the property was owned by Jonas' cousin) where there was a sauna. So Debbie and I got off the boat to enter the sauna....in towels. Everyone else inside was totally unclothed, and we were quite taken aback. One of the gentleman in the sauna was OUR dentist from Zurich....who waved at us as we walked in. I remember Debbie giggling so hard....but we didn't take our towels off. I have often laughed to myself at that one!
Over the next few years, many dancers from the NYCB came to Zurich, including one of my great friends....Christine Redpath, who is presently ballet mistress at NYCB. She began there (after her dancing was finished) by working for Jerry Robbins. I was able to return her sage advice (to me from years before)....'to never let Jerry know that one was upset by him.' Another dancer and wonderful friend, was Elise Flagg....who came there and danced with Rudolph Nureyev. He liked her very much...partly because she was so little, and he had no problem lifting her! And Elise was a very technically proficient dancer as well. Also her sister, Laura Flagg Pitts (who is much on my mind of later) came there with her husband, Bryan Pitts. Unfortunately, they didn't stay very long....only 9 months. Plus Debbie Austin (with then husband Hartmout), Amanda Bennett (before she went to Basel). Mandy became Director of the Basel Ballet School....and still is. She was a fantastic dancer; I have seen her on the ARTS CHANNEL here in Seattle, dancing with Sheldon Schwartz....Heinz Spoerli's PULCINELLA. A good friend from NYCB, Gerry Ebitz also came to Zurich (and later to PNB). He married Kay Preston...(who unfortunately passed away several years ago....she was murdered by an ex-boyfriend...a horror story if ever there was one.) Elizabeth Carr and Lucette Katerndahl also came to join the Geneva company, and moved to Zurich...but stayed only a short time.
One of my roommates, Laura Smeak, a fantastic and unusual dancer from NYC (not City Ballet, but another company), had a very wonderful sense of humor. She married a Swiss fellow who worked at CERN in Geneva, and now lives there (she moved back after Pat left Zurich). We have re-connected again via Facebook, for which I am most grateful. She and Elise and I were all great friends. She told me she has a son who is a huge fan of Michael Jackson's, and when she told him she had a good friend (Dianne) who had known Michael, he was just ecstatic. It is great to know that present day young people are finding Michael relevant. He was such a great artist and person....and his music is very popular. I find that wonderful...I cannot imagine anyone who would not love Michael's music. I just wish he were still here to compose more of it.
I remember when Elise moved to Zurich and lived in a very small apartment (Elise size) for a time, before her then husband, Michael Romano joined her. They found a larger apartment, and Michael (who already was a well-known chef) became the top chef in the best French restaurant in Zurich. Of course, we were all treated to fabulous dinners from his kitchen, as well as fantastic wines. Plus restaurant jaunts..Michael knew all the best places. One evening Rudi (Nureyev) was invited to dinner by Michael and Elise...(as well as Chrissy and myself...she was my roommate at that time). That was some evening! Rudi persuaded Michael to dance a tango with him in the living room! A few years back, I spoke with Michael on the phone, and asked him if he remembered that evening. He said, "Dianne, I am so glad you reminded me of that...I thought perhaps I had imagined the entire thing. And no one ever believes my story!" But it was definitely true....I WAS THERE!
There are so many stories circulating in my head...and not space or time enough to tell them all. But one comes to mind: On one of our vacation breaks, I took a trip to Majorca, to visit the home of Chopin, and see the caves and other sights. I went by myself, which turned out to be fun...I could do what I wanted when I wanted. Unfortunately, I came in contact with some tainted food in the HOTEL, of all things, near the end of the trip. So I was on the plane when the uncomfortable feelings began. Ugh! I just prayed that I would make it home (to Zurich) before a nasty accident happened. As luck would have it, I did make it home....just in time. The next few days I spent in bed, sick as a dog, and not able to work at all. The doctor was called (either by Chrissy or Albi, Pat's assistant)...and he came over. (Can you imagine house calls from a physician in America?) I had a particularly virulent form of food poisoning, and one just had to basically wait for it to pass. The phone rang, and it was Rudi (Nureyev), who said he knew I was sick, but was wondering if there was ANY possibility I could come in and play RUBIES (Stravinsky) for him? He wanted to learn the music first (by ear) before learning the steps to the ballet with his partner...who was going to be Elise! (That was a FIRST, don't know any other dancer who ever thought of doing that!!) And it was a testament to his thoroughness as an artist. Unfortunately, I told him, it was not possible for me to even sit at the piano, let alone play Stravinsky! He understood, and said he would call me the next day, which he did. I was still too ill to come, but thought I might be able to possibly come the following day. And he called yet again that day....and told me he would bring a bucket!!! Some beautiful flowers arrived at my apartment from him! Well, to make a long story a bit shorter, I did struggle out of bed to the studio that day...Chrissy drove me to the studio, which was of great assistance. And I was able to play all of the Capriccio for him...(he sat next to me at the piano during this session.) Instead of telling him the counts Mr. B had used for the choreography, I told him to count the music as HE HEARD it, which he did. That worked for him. Stravinsky isn't an easy composer to understand, but Rudi was a very musical person, and meticulous in his preparation. I played all the entrance passages several times for him, so he would know (without counting) when he needed to come onstage. There are several places in each movement for the principal couple to enter, so even with no steps learned as yet, he learned the music!!! I think this was the most unusual rehearsal I ever played...with the dancer sitting next to me on the piano bench!!!
Tuesday, May 20, 2014
MORE STORIES/ADVENTURES....(Chapter 22)
This is a tale of a chance encounter with Mr. Balanchine in an elevator at the State Theater. It began with the door opening on the Stage Level, where I was waiting for it. Mr. B was already in the elevator and did not get out, saying he was going up to his office on the 4th floor. Which is where I was headed as well. So I got in the elevator....there was a pause, and then he asked me how I was.....to which I answered that I was very well. THEN he made an unusual remark...."deeer, I could get you Very Nice Piano." Hmm. Well, where did that come from, I wondered? And I answered that I HAD a very nice piano, to which he then added..."Very nice Steinway"...Oh...thought I, this is getting interesting. And I said, "well, Mr. Balanchine, I have a very good Steinway." Undaunted, he said, "well, I can get you better and newer one, then you will have two!" I didn't want to say that my apartment wouldn't be large enough to accommodate two Steinway pianos, lest he might mention that he could get me a large condo! So I said nothing. He then said, "you know, deeer, I like pianists also...not only dancers." By now this was getting just a tad uncomfortable, and I was wishing the elevator would move faster! But as luck would have it, the darn thing stopped on every floor. But at least more people got on, precluding the need for further conversation with Mr. B. I stood there (very uncomfortable, I might add) and told him I had a rehearsal for which I was a bit unprepared and needed to run through the score beforehand. I am sure he was amused at my discomfiture (I was NOT amused, of course). However, he never again made such an obvious overture, at least not in NYC. No, he waited until Zurich (a few years later!) He changed his tactic, and asked Pat to speak to me on his behalf! Oh Great!!! She did speak to me (in a rehearsal one day)...and I asked her to please pass a message that I was 'involved' with a cellist, and therefore not available. (That was true.) But....he had something else up his sleeve. Sneaky man! During his visit, I had a rehearsal one evening with my cellist friend (for some upcoming concerts). Pat phoned me there (at Mr. B's request, she said) to invite me to dinner at her house (where he was cooking). She said he was adamant that I must come as he wanted to speak to me about a new ballet... DAVIDSBUNDLER TANZEN, which he had just finished choreographing. Of course, I could not say no....one just didn't do that. When I told my cellist friend, Christian, that I needed to leave, he was very puzzled (and a bit annoyed). He didn't understand that any of us would just drop everything when Mr. B requested our presence. No...most people didn't understand that...(but they didn't work for the man, either.) So I just said that I was very sorry to leave, but we would have to re-schedule our rehearsal. And I left! That was how it was with Mr. B....he had the power. The conclusion of this story is that I remained good friends with him until the end of his life, and went out to dinner with him several times in Zurich....but that other subject never came up again. THANK GOODNESS!. When he was very ill I visited him in hospital in New York City (I had traveled there to play for the Basel Ballet)...and he was still lucid and talkative. I returned to Zurich for a very short time, to rehearse the company for a tour to Washington D.C. with Rudi Nureyev. The night before we left for America, I had a very clear dream that Mr. Balanchine had passed away....and awoke crying. I told my roommate, Christine Redpath about my dream...and indeed when we deplaned in NYC, learned of his passing. I have had many such dreams....(one about Michael Jackson as well.) I have no idea from whence or why these dreams occur. But they do.
This next story involves a LIEBESLIEDER WALZER performance at the State Theater (as it was called then) in NYC. Now I always left my apartment early enough to travel to the theater in plenty of time to get dressed, warm up, and generally be ready for the performance. This particular evening was no exception. At that time I lived on 109th Street and Broadway, so left even earlier. When I got to the street, saw that the traffic was NOT moving...and the bus I normally took, was just stopped. A real traffic jam! I ran to the nearest subway tunnel, and found the same situation...the trains were going nowhere! So ran back up the stairs, into the street, and flagged down a motorist who was stopped at a light (he looked like a nice guy). and begged him to take me to the NY State Theater backstage entrance. (He knew where it was.) I offered him money for this, but he refused....saying this was a unique opportunity for him to drive the NYCB piano soloist to her performance! He was into it! He did some fancy maneuvering and by a miracle, I arrived at the theater five (5) minutes before the performance was supposed to start. After promising my chauffeur tickets to a performance, and expressing my profuse thanks, I ran into the theater and up one flight of stairs, to the Stage Level (never mind the slow elevator). Mme. Pourmel was waiting for me with my Liebeslieder gown....bless her heart! The dress was put on me, my hair was done by two people, then make-up applied, and voila! I was ready! I picked up my music (thank goodness I hadn't left it in that car!) and walked onto the stage to the piano, where Robert was already seated. The dancers were in place....they were all waiting for me!! Robert said in his best British accent, "dear, where HAHVE you been?" Breathless, I said nothing, sat down, put the music on the piano, and at that very moment the curtain WENT UP.....so we started our introduction to the first waltz! AND not even a minute late! Mr. B was in his customary position in the wings...by the piano....and just said to me "Good to see you here, deeeer!" His little joke, of course!
This next story involves a LIEBESLIEDER WALZER performance at the State Theater (as it was called then) in NYC. Now I always left my apartment early enough to travel to the theater in plenty of time to get dressed, warm up, and generally be ready for the performance. This particular evening was no exception. At that time I lived on 109th Street and Broadway, so left even earlier. When I got to the street, saw that the traffic was NOT moving...and the bus I normally took, was just stopped. A real traffic jam! I ran to the nearest subway tunnel, and found the same situation...the trains were going nowhere! So ran back up the stairs, into the street, and flagged down a motorist who was stopped at a light (he looked like a nice guy). and begged him to take me to the NY State Theater backstage entrance. (He knew where it was.) I offered him money for this, but he refused....saying this was a unique opportunity for him to drive the NYCB piano soloist to her performance! He was into it! He did some fancy maneuvering and by a miracle, I arrived at the theater five (5) minutes before the performance was supposed to start. After promising my chauffeur tickets to a performance, and expressing my profuse thanks, I ran into the theater and up one flight of stairs, to the Stage Level (never mind the slow elevator). Mme. Pourmel was waiting for me with my Liebeslieder gown....bless her heart! The dress was put on me, my hair was done by two people, then make-up applied, and voila! I was ready! I picked up my music (thank goodness I hadn't left it in that car!) and walked onto the stage to the piano, where Robert was already seated. The dancers were in place....they were all waiting for me!! Robert said in his best British accent, "dear, where HAHVE you been?" Breathless, I said nothing, sat down, put the music on the piano, and at that very moment the curtain WENT UP.....so we started our introduction to the first waltz! AND not even a minute late! Mr. B was in his customary position in the wings...by the piano....and just said to me "Good to see you here, deeeer!" His little joke, of course!
Thursday, May 15, 2014
UNUSUAL REHEARSALS OR HAPPENINGS AT NYCB (Chapter 22)
It is time for a description of a few memorable happenings, rehearsals, performances at the NYCB. I will begin with a rehearsal which took place in the large studio at the KENNEDY CENTER Opera House in Washington D.C. Mr. Balanchine had decided to begin choreographing a new ballet for the RAVEL FESTIVAL called "SONATINE"...a lovely 3 movement work for piano by Maurice Ravel, of course. Two French dancers were called....Violette Verdy and Jean Pierre Bonnefous. I was playing for this rehearsal as I was scheduled to perform the work with them on stage. So we began the rehearsal by placing the piano diagonally across from the two of them.
Now if you have ever been around French people, you will know they tend to speak continuously and very fast. These two were no exception! One of my favorite dancers (and people) is definitely Violette. She is so musical, and I always enjoyed working with her. I had not worked much with Jean-Pierre, but found him a most pleasant fellow, who was always very polite. Today, however, Violette was in rare form. She did not stop talking WHILE Mr. B was choreographing! When he told her to do an 'Arabesque,' for example, she said..."oh J'adore Arabesque!" I began laughing softly to myself, as I had never heard anyone say that before! Then he told her to do a 'Promenade' with JP, and she said...."oh, J'adore Promenade!"
This was becoming a comedy....(I looked at Mr. B's face, and could see him laughing softly as well!) Then he directed them to go to the other side of the studio, but they were chattering so much they didn't hear him! So he said to me, "well, since they are over there, I will go there....it will save time." By now I was flabbergasted at the way this rehearsal was progressing...and trying my best NOT to laugh. When he told Violette to do a Pas de chat, and she AGAIN said..."oh, J'adore Pas de chat!" I nearly lost it then! So Mr. B started to choreograph a little solo for Jean-Pierre (who did NOT say..."J'adore"....whatever the step was. THANK Goodness!) Things continued in this fashion for the rest of the rehearsal....and somehow Mr. B managed to choreograph the entire piece (3 movements...about 15 minutes) during the time frame! Balanchine is a very skilled and efficient choreographer.....and when people are paying close attention, things go very quickly. But this rehearsal was another matter entirely. I actually couldn't believe it. There was no one else in the studio to witness this rehearsal....which was probably a good thing....who would believe it?!! When I described what happened to my colleague, Jerry, he had a difficult time believing me.
The next incident was not a rehearsal, but an occurrence.
In this Opera House, there was only one dressing room with a piano in it, so we 3 pianists were assigned to it. Also in the same space with us was Hugo, Robert (the two conductors), plus Mr. B. and Jerry Robbins as well! Of course we did not spend much time in that room, unless someone was practicing, however that seemed like too many people for one dressing area! I kept my coat, music, and concert dress in the closet....and only practiced (warmed up) before a performance. One day after rehearsal, I ran in there to get my coat to walk back to the hotel. There was no one in the sitting room, but I heard water running in the bathroom. I sat down at the piano to run through a certain passage of music, when the door to the bathroom opened. And out walked Mr. Balanchine clad only IN A TOWEL!!! He had no idea I was there and I had zero idea that he had been taking a shower! I was completely embarrassed, and turning beet red, got up from the piano! I apologized profusely, and just said..."I am leaving right now...so sorry! I could see that Mr. B. was MOST amused! And I ran out of the room as fast as I could! (This isn't the end of the story...) The next morning many of the girls entered the elevator on the bottom floor, followed by Mr. B. I was already there, and when he saw me, he smiled (wickedly, I might add) and said...."well, you see deeeer, TODAY I have my pants ON!!!!! Every head in that elevator whipped around to stare at me! I was mortified! Of course, Mr. B enjoyed that little joke very, very much. No one said a word....you could hear a pin drop, (if someone had dropped one!) As we were all walking to the big studio for class, one of my friends came up to me and said...."what was that all about anyway?" I started to explain when Mr. B came up to us, and I stopped talking. Then in class, he actually told the entire story...about the shower, my practicing the piano, and all the rest. Everyone had a good laugh, mostly at my expense! But at least those girls would know what had happened, and their imaginations could stop working overtime!
This is a story about me, performing in the orchestra pit. There was a young man at NYCB who had been hired as a 'gofer' for the company. One of his duties was to turn pages for us pianists in performances. (He was studying piano with Gordon, so he did read music). One evening I was playing 'RUBIES' (Capriccio for Piano and Orchestra, by Stravinsky).
While I know this music from memory, it is necessary to have the music at hand, just in case. After all, there are dancers on stage depending on the music, and thus on me. (This is quite a serious responsibility.) Turning pages is not an easy task....the page turner has to know the music and anticipate the performer's wishes. I made a habit of saying "TURN" just before I needed the page turned. This seemed to work well with most page turners, however this person was not one of them. He thought he knew BEST when to turn, and actually he did NOT! So.... on one occasion when he failed to respond to my directive, I told him (while still playing) that he needed to do as I wished, not as HE wished! Well, he seemed to become annoyed, and when he turned the next page, did it so angrily that the music FELL ON THE FLOOR!!! I was so shocked that I almost stopped playing, but didn't, of course. He seemed to be IN SHOCK and just froze. I had to say to him...."PLEASE pick up the music and put it on the piano to page_______ (whatever it was"). Hmph!!!! Robert Irving (conductor) noticed the brouhaha at the piano, and began glowering at both of us! Somehow this disaster didn't affect the performance on stage, thank goodness! But at the end of the piece, I (furious as could be) yelled at the hapless young man, telling him that was the LAST TIME he would turn pages for me!!! I told Jerry and Gordon about this incident. They had never experienced the music falling on the floor, but felt that he did not follow directions well at all. So....that was the end of that page turner....although he stayed on, working in other areas (but no more page turning!)
In re-reading this chapter, I see that many might conclude that most of my time spent with the NYCB was fraught with accidents or incidents.....both amusing and ridiculous! Well, that was partly true. I had garnered a reputation for being the one who got into 'situations.' While I was always very meticulous in rehearsals, I guess that 'things' just seemed to happen, for some reason. One of my friends said she thought a book based on The Perils of Pauline should be written....called The Perils of Dianne....about my rehearsals. I almost always enjoyed all my performances....either with orchestra or as a soloist...including the very lovely 'SONATINE.' However, Mr. Balanchine was insisting that I play this work from memory on stage with the dancers. He didn't want another person onstage turning pages...to disturb the stage scenario. Now playing from memory was 'par for the course' for any concert pianist, and I was accustomed to this. But this was a ballet performance, and the dancers depended on me. So I was a bit nervous about this turn of events. But Mr. B was adamant in this matter, so I just accepted his decision. For this onstage appearance, I had a very lovely Spanish dress, which my mother had bought for me in Mexico. It was black lace with colorful flowers embroidered on the entire dress....very elegant looking. This dress caused much comment. Violette thought it was too flamboyant for the ballet...especially since she and Jean-Pierre were wearing muted Blue and Grey. However, Mr. B loved the dress, and wanted me to wear it...so that was that! Many of my friends came to the performance to see THE DRESS, including Jerry and Gordon! On one evening before the performance, I was combing and arranging my hair in front of the mirror just outside the stage area. Then Mr. B came up to me, took the comb and began re-arranging my hair. He said, "hair has to look good, in case piano playing ISN'T!" I was quite shocked at that remark....he had a way of making a person feel uncomfortable. But I knew that he was trying to rattle me, and I refused to be intimidated. So I calmly said...."Mr. B, you would be very upset if I actually forgot what I was playing on stage, wouldn't you?" He chuckled at that one....he knew I would NOT forget the music, and was amused at my cheekiness.
That was the way it was there....always cat and mouse...(for everyone, I might add!)
Now if you have ever been around French people, you will know they tend to speak continuously and very fast. These two were no exception! One of my favorite dancers (and people) is definitely Violette. She is so musical, and I always enjoyed working with her. I had not worked much with Jean-Pierre, but found him a most pleasant fellow, who was always very polite. Today, however, Violette was in rare form. She did not stop talking WHILE Mr. B was choreographing! When he told her to do an 'Arabesque,' for example, she said..."oh J'adore Arabesque!" I began laughing softly to myself, as I had never heard anyone say that before! Then he told her to do a 'Promenade' with JP, and she said...."oh, J'adore Promenade!"
This was becoming a comedy....(I looked at Mr. B's face, and could see him laughing softly as well!) Then he directed them to go to the other side of the studio, but they were chattering so much they didn't hear him! So he said to me, "well, since they are over there, I will go there....it will save time." By now I was flabbergasted at the way this rehearsal was progressing...and trying my best NOT to laugh. When he told Violette to do a Pas de chat, and she AGAIN said..."oh, J'adore Pas de chat!" I nearly lost it then! So Mr. B started to choreograph a little solo for Jean-Pierre (who did NOT say..."J'adore"....whatever the step was. THANK Goodness!) Things continued in this fashion for the rest of the rehearsal....and somehow Mr. B managed to choreograph the entire piece (3 movements...about 15 minutes) during the time frame! Balanchine is a very skilled and efficient choreographer.....and when people are paying close attention, things go very quickly. But this rehearsal was another matter entirely. I actually couldn't believe it. There was no one else in the studio to witness this rehearsal....which was probably a good thing....who would believe it?!! When I described what happened to my colleague, Jerry, he had a difficult time believing me.
The next incident was not a rehearsal, but an occurrence.
In this Opera House, there was only one dressing room with a piano in it, so we 3 pianists were assigned to it. Also in the same space with us was Hugo, Robert (the two conductors), plus Mr. B. and Jerry Robbins as well! Of course we did not spend much time in that room, unless someone was practicing, however that seemed like too many people for one dressing area! I kept my coat, music, and concert dress in the closet....and only practiced (warmed up) before a performance. One day after rehearsal, I ran in there to get my coat to walk back to the hotel. There was no one in the sitting room, but I heard water running in the bathroom. I sat down at the piano to run through a certain passage of music, when the door to the bathroom opened. And out walked Mr. Balanchine clad only IN A TOWEL!!! He had no idea I was there and I had zero idea that he had been taking a shower! I was completely embarrassed, and turning beet red, got up from the piano! I apologized profusely, and just said..."I am leaving right now...so sorry! I could see that Mr. B. was MOST amused! And I ran out of the room as fast as I could! (This isn't the end of the story...) The next morning many of the girls entered the elevator on the bottom floor, followed by Mr. B. I was already there, and when he saw me, he smiled (wickedly, I might add) and said...."well, you see deeeer, TODAY I have my pants ON!!!!! Every head in that elevator whipped around to stare at me! I was mortified! Of course, Mr. B enjoyed that little joke very, very much. No one said a word....you could hear a pin drop, (if someone had dropped one!) As we were all walking to the big studio for class, one of my friends came up to me and said...."what was that all about anyway?" I started to explain when Mr. B came up to us, and I stopped talking. Then in class, he actually told the entire story...about the shower, my practicing the piano, and all the rest. Everyone had a good laugh, mostly at my expense! But at least those girls would know what had happened, and their imaginations could stop working overtime!
This is a story about me, performing in the orchestra pit. There was a young man at NYCB who had been hired as a 'gofer' for the company. One of his duties was to turn pages for us pianists in performances. (He was studying piano with Gordon, so he did read music). One evening I was playing 'RUBIES' (Capriccio for Piano and Orchestra, by Stravinsky).
While I know this music from memory, it is necessary to have the music at hand, just in case. After all, there are dancers on stage depending on the music, and thus on me. (This is quite a serious responsibility.) Turning pages is not an easy task....the page turner has to know the music and anticipate the performer's wishes. I made a habit of saying "TURN" just before I needed the page turned. This seemed to work well with most page turners, however this person was not one of them. He thought he knew BEST when to turn, and actually he did NOT! So.... on one occasion when he failed to respond to my directive, I told him (while still playing) that he needed to do as I wished, not as HE wished! Well, he seemed to become annoyed, and when he turned the next page, did it so angrily that the music FELL ON THE FLOOR!!! I was so shocked that I almost stopped playing, but didn't, of course. He seemed to be IN SHOCK and just froze. I had to say to him...."PLEASE pick up the music and put it on the piano to page_______ (whatever it was"). Hmph!!!! Robert Irving (conductor) noticed the brouhaha at the piano, and began glowering at both of us! Somehow this disaster didn't affect the performance on stage, thank goodness! But at the end of the piece, I (furious as could be) yelled at the hapless young man, telling him that was the LAST TIME he would turn pages for me!!! I told Jerry and Gordon about this incident. They had never experienced the music falling on the floor, but felt that he did not follow directions well at all. So....that was the end of that page turner....although he stayed on, working in other areas (but no more page turning!)
In re-reading this chapter, I see that many might conclude that most of my time spent with the NYCB was fraught with accidents or incidents.....both amusing and ridiculous! Well, that was partly true. I had garnered a reputation for being the one who got into 'situations.' While I was always very meticulous in rehearsals, I guess that 'things' just seemed to happen, for some reason. One of my friends said she thought a book based on The Perils of Pauline should be written....called The Perils of Dianne....about my rehearsals. I almost always enjoyed all my performances....either with orchestra or as a soloist...including the very lovely 'SONATINE.' However, Mr. Balanchine was insisting that I play this work from memory on stage with the dancers. He didn't want another person onstage turning pages...to disturb the stage scenario. Now playing from memory was 'par for the course' for any concert pianist, and I was accustomed to this. But this was a ballet performance, and the dancers depended on me. So I was a bit nervous about this turn of events. But Mr. B was adamant in this matter, so I just accepted his decision. For this onstage appearance, I had a very lovely Spanish dress, which my mother had bought for me in Mexico. It was black lace with colorful flowers embroidered on the entire dress....very elegant looking. This dress caused much comment. Violette thought it was too flamboyant for the ballet...especially since she and Jean-Pierre were wearing muted Blue and Grey. However, Mr. B loved the dress, and wanted me to wear it...so that was that! Many of my friends came to the performance to see THE DRESS, including Jerry and Gordon! On one evening before the performance, I was combing and arranging my hair in front of the mirror just outside the stage area. Then Mr. B came up to me, took the comb and began re-arranging my hair. He said, "hair has to look good, in case piano playing ISN'T!" I was quite shocked at that remark....he had a way of making a person feel uncomfortable. But I knew that he was trying to rattle me, and I refused to be intimidated. So I calmly said...."Mr. B, you would be very upset if I actually forgot what I was playing on stage, wouldn't you?" He chuckled at that one....he knew I would NOT forget the music, and was amused at my cheekiness.
That was the way it was there....always cat and mouse...(for everyone, I might add!)
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