Oberon's Grove

Cellist Zlatomir Fung @ Weill Hall

Tuesday October 19th, 2021 - One of my favorite musicians, Zlatomir Fung, made his Carnegie debut this evening at Weill Hall, a red-letter event for me. Zlatomir, whose unique name derives from his Bulgarian and Chinese-American parentage, was the first American in four decades - and the youngest cellist ever - to win first prize at the International Tchaikovsky Competition in 2019.

I first heard Mr. Fung in a Young Concert Artists recital at Merkin Hall in February 2019, and was captivated by his remarkable talent. Read about the evening here.

Joined at Weill Hall this evening by pianist Mishka Rushdie Momen (above), the cellist gave us a marvelous program of classics from the Romantic period. The concert was sold out, and the audience's rapt attention was a tribute both to the music and to the musicians. 

Robert Schumann's Adagio and Allegro, Op. 70, was composed in 1849. The pensive adagio, heart-tugging in its emotional expressiveness, gives way to the lively and passionate allegro, a deft flow of music that sometimes looks back to the opening movement. From note one, I was transfixed by Mr. Fung's achingly beautiful playing, which drew me - and my fellow audience members - immediately in to the music.

Franz Schubert's Sonata in A-Minor, D. 821, "Arpeggione", was written in 1824, soon after the beloved song cycle Die Schöne Müllerin and shortly before the C-major symphony.

The sonata's opening movement is a songful allegro moderato, tinged with a feel of nostalgia. A dance springs up, with a folkish flavor, and a passage of staccati from the cello aligns with sparkling notes from the piano. The movement continues, shifting between sadness and joy...a sort of reflection on the times in which we are living. 

From its poignant opening, the sonata's central adagio found Mr. Fung at his most persuasively eloquent as the music carried him across a wide dynamic range, leaving the listener in awe of his sustained, finely nuanced phrasing. Ms. Momen was a ideal companion. This was music-making of the highest calibre.  

The concluding allegretto is energetic, at times having with a somewhat jaunty feel; both players displayed great  nimbleness, dancing us along to a surprisingly subdued finish. 

Antonín Dvořák's "Silent Woods", Op. 68, No. 5, was - to me - the heart of the evening; subtle dynamic shadings from both players constantly allured the ear, and the astonishing resonance in Mr. Fung's playing reached the depths of my soul. A dance-like passage gives way to a wave of passion; this subsides only to sweep over us again moments later. Mr. Fung's glorious descending phrase at the end was thrilling.

The musicians took only the briefest of breaks between works, but they seemed wonderfully fresh as they returned to the Weill Hall stage for the program's concluding work: César Franck's epic and very demanding Sonata in A-major. The cellist Jules Delsart was so moved when he first heard this sonata in its original violin setting that he obtained the composer's permission to arrange the work for his own instrument. This arrangement was published in 1887.

The sonata's opening Allegretto ben moderato joins two themes: one for the cello and one for piano. These themes, especially the cello's, will return in the following movements. The players seemed to gently bend the melodies, putting a personal stamp on this familiar music. 

Turbulence rises for the second movement, a dramatic scherzo, in which the restless piano is over-lain with a vivid, dramatic passage for the violin. Lyrical moments, featuring this sonata's second well-loved theme, come and go. From a veritable feast of notes, passion rises with the great melody sounding forth. Becalmed, deep resonance from the cello lingers briefly, then another rise to a triumphant finish.

The Recitativo-Fantasia brings back sonic images from the previous movements. There is a feeling of improvisation here which leads in a slow buildup to another haunting melody for the cello. Then the final Allegretto con moto commences with the piano and cello seemingly exchanging thematic thoughts. Things grow turbulent again, and earlier themes resurface, all leading to a vibrant, joyous ending.

Enthusiastic applause, the audience standing, brought Mr. Fung and Ms. Momen back for an encore: a Nocturne by Alexander Borodin which was unfamiliar to me. This was elegantly played, with appealing dynamic shifts and a spine-tingling tremelo passage from the cellist. As throughout the evening, I loved watching Mr. Fung's expressive face as he played; he seemed to be communing with Saint Cecilia, all to the greater glory of the music.

~ Oberon

Discoveries X

Things I found by chance on YouTube during the pandemic.

Latvian tenor Mikhail Alexandrovich sings a dreamy "Cielo e mar" from Ponchielli's LA GIOCONDA. Listen here.

In a 1954 recording, mezzo-soprano Nell Rankin sings songs of Johannes Brahms. She is accompanied by Coenraad V. Bos, pianist, and Carlton Cooley, violist. Listen here.

The beloved Hungarian basso László Polgár sings "Ella giammai m'amò" from Verdi's DON CARLO.

Watch and listen here.

Mr. Polgár passed away unexpectedly, at the young age of 63, in 2010.

Eleanor Steber sings Tosca's "Vissi d'arte"; watch and listen here.

The great Hungarian basso Mihály Székely sings Philip II's monologue from Verdi's DON CARLO. Watch and listen here.

Stefka Evstatieva sings "La mamma morta" from Giordano's ANDREA CHENIER from a performance given at Montreal in 1993. Watch and listen here.

In a rare excursion into Wagner, the great Italian basso Cesare Siepi sings Wotan's Farewell from WALKURE from a 1967 concert by the New Jersey State Opera Orchestra, conducted by Kenneth Schermerhorn, Listen here.

Sophie Koch sings Hector Berlioz's 'Le Spectre de la Rose' with Laurent Petitgirard conducting the Orchestre Symphonique; filmed in September 1998.

Watch and listen here.

Farewells: Maria Kowroski

Above: Maria Kowroski in Balanchine's DIAMONDS; photo by Paul Kolnik

Peter Martins said of Maria Kowroski that her elevation to the rank of principal ballerina at New York City Ballet was "inevitable" from day one. And it happened so fast: she joined the Company as an Apprentice in 1994 and five years later attained the Principal designation. I feel so fortunate to have been there from the start, watching her career unfold.

Over the passing seasons, Maria's performances have radiated with the distinctive glow that is the trademark of a great ballerina. Her range has been vast: she excelled as the a witty Girl in Green in DANCES AT A GATHERING, as a leggy Broadway babe in SLAUGHTER ON TENTH AVENUE, in the stately adagio of SYMPHONY IN C, as the sleek temptress in PRODIGAL SON, as an iconic Swan Queen (in both the Balanchine and Martins productions), as the wryly hilarious "hat girl" in THE CONCERT, as a magnificent Firebird, as a spectacular Red Angel in Ulysses Dove's ballet of that title, as an ideal Titania in MIDSUMMER NIGHTS DREAM, and as a triple treat in JEWELS, wherein she was equally gorgeous in each "act" : Emeralds, Rubies, and Diamonds. She looked as stunning in such leotard ballets as AGON and STRAVINSKY VIOLIN CONCERTO as in the be-jeweled gowns of LIEBESLIEDER WALTZES and VIENNA WALTZES.

Watch Maria in motion in the AGON pas de deux with Amar Ramasar here, scrolling down the page once the link opens.

Maria and Ask la Cour perform the pas de deux from Christopher Wheeldon's AFTER THE RAIN at sunrise on a September morning in lower Manhattan. Watch here.

Here is a Maria K gallery:

As the Firebird

As The Siren in PRODIGAL SON; a Paul Kolnik photo

Maria's great partnership with Charles Askegard (above in SERENADE), who made the leap from ABT to NYC Ballet to dance with her, brought forth some of her most thrilling performances. I especially loved their dancing together in Helgi Tomasson's PRISM.

Maria in AGON with Albert Evans

In AGON with Jock Soto; photo by Richard Termine

Dancing with Edwaard Liang for Christopher Wheeldon's Morphoses in Central Park; photo by Kokyat...

...and with Jason Fowler at Vail; photo by Erin Baiano.

MOZARTIANA with Philip Neal

A once-in-a-lifetime pairing of Maria Kowroski and the Joffrey Ballet's magnifique Fabrice Calmels, for the Monterrey International Dance Festival in 2014.  

With Ask la Cour in AFTER THE RAIN

After VIENNA WALTZES, with Amar Ramasar, Sterling Hyltin, and Gonzalo Garcia; Amar, Sterling, and Gonzalo performed at Maria's gala this afternoon

Maria with Tyler Angle in SWAN LAKE; a Paul Kolnik photo

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For her farewell program his afternoon, Maria chose pieces by Balanchine, Wheeldon, and Bigonzetti; the Company performed my favorite Jerome Robbins ballet: OPUS 19/THE DREAMER.

A scene from Balanchine's CHACONNE opened the performance, with Maria and Russell Janzen in the principal roles. Clothilde Otranto was on the podium, beginning a game of 'pass the baton' which continued through the afternoon. Special kudos to flautist Scott Kemsley for his exquisite playing; he deserves a credit in the Playbill. A roar of applause and bravas greeted Maria's entrance; she and Russell danced with a deep sense of lyricism.

Andrews Sill then took up the baton for the atmospheric OPUS 19/THE DREAMER, which Sterling Hyltin and Gonzalo Garcia danced so beautifully. Kurt Nikkanen played the Prokofiev 1st violin concerto splendidly - it's such a great piece of music! - and Mr. Kemsley and harpist Sara Cutler added their artistry to this musical highlight of the day. In the opening passage of the ballet, Gonzalo was simply mesmerizing; this is a perfect role for him, and Sterling was the perfect partner. Bravi!!

Maestro Andrew Litton now joined the festivities to conduct an excerpt from Christopher Wheeldon's DANSE A GRANDE VITESSE which was danced by Maria with Tyler Angle. Tyler, his head now shaved, has always been a terrific partner for Maria, and so it was great to see them together again tonight. The couple make a spectacular entrance here, Maria in a stunning overhead lift: the crowd went wild. Propulsive music (by Michael Nyman) set the excerpt on its way; later, the music takes on a hymn-like feeling, and then becomes animated. It ends with Maria again aloft. As the curtain fell, a gigantic ovation erupted; after a couple of bows, the lights came up but the audience continued to cheer for another minute or two, not realizing that Maria was changing her costume for...

...AMARIA, a pièce d'occasion created by choreographer Mauro Bigonzetti, which celebrates the partnership of Maria Kowroski and Amar Ramasar; the dancers' first names are enshrined in the ballet's title. Onstage, pianist Craig Baldwin played Scarlatti sonatas. Each dancer has a solo, then join in a rather restless duet. The mood overall is darkish and somber. Their bows together were extremely moving for me; they seem to be two dancers who have always been there for each other.

Balanchine's SLAUGHTER ON TENTH AVENUE, one of the few ballets by the Master that I can't stand, closed the show. The recently-retired Ask la Cour made a brief comeback to honor his long-time colleague, Maria, at her farewell. Tyler Angle and Daniel Applebaum took the other leading roles. The ballet looks terribly dated and corny now, though it gives us the chance to revel in the gorgeous Kowroski gams. The music is so annoying; I couldn't wait for it to end. But the rest of the audience greeted the piece - and then the bowing ballerina - deliriously. 

And so we bade farewell to the inimitable Maria Kowroski. Many of her partners - past and recent - joined the long parade of friends presenting her with bouquets and embraces. The last to appear were Maria's husband with their young son...and again, the audience went nuts.

As the prolonged ovation - the volleys of bravas, the golden streamers falling about her, the enthusiastic and very genuine admiration from her colleagues - swept on, countless visions of the great ballerina in her many wonderful roles danced by in my head.

But one memory that has always lingered in my mind had nothing to do with Maria's actual dancing. One evening a few years ago, Wei and I were at the Metropolitan Opera House for an ABT performance. During the intermission, we came out from the auditorium and noticed a commotion at the foot of the grand staircase. We walked over, and there was Maria in a stunning cream-coloured gown, be-jeweled and elegantly coiffed. She was graciously accepting compliments and signing autographs when a woman approached with her tiny daughter, who might have been all of three years old. The child, who was simply fascinated by the tall ballerina standing before her, didn't say a word, but - prompted by her mother - held out her playbill for Maria to sign. Maria knelt down and spoke quietly to the girl, and signed her name. When she stood up, the girl remained totally transfixed. It was such a charming moment.

~ Oberon

Britten ~ Jubilate Deo

The Indiana Universty Jacobs School of Music Conductor's Chorus perform Benjamin Britten's Jubilate Deo. Daanbee Kim conducts, and Hansol Kim is the organist.

Watch and listen here.

PAGLIACCI - Metropolitan Opera Record Club ~ 1958

Above: Frank Guarrera

During the pandemic, all sorts of treasures have been popping up on YouTube. I think that the collectors who have their own channels are finding time to post more, digging deep into their archives. It's such a boon for music lovers, who - up til now - have been mostly deprived of live in-venue performances..

Here we have Leoncavallo's PAGLIACCI from a recording made in 1958 for the Metropolitan Opera Record Club. All of the singers in the cast were dear to me in my earliest days of opera fandom.

Listen here.

Pianist Juan Pérez Floristán @ Weill Hall

Above: Juan Pérez Floristán; photo by Yoel Levy

Thursday October 14th, 2021 - Tonight I attended my first recital following the 19-month hiatus caused by the COVID virus. I felt truly moved and grateful to be back at Weill Hall for this evening's performance, presented by American Friends of the Arthur Rubinstein International Music Society. 

Spanish pianist Juan Pérez Floristán, the Gold Medal Winner of the 2021 Arthur Rubinstein International Piano Competition, offered a nicely varied program, beautifully played. Mr. Floristán is a slender, handsome fellow; clad in black, with red socks à la the young Thibaudet, he was as captivating to watch as to hear. 

Opening the recital with Chopin, Mr. Floristán gave us selections from the composer's Twenty-Four Preludes, Op. 28. Composed mainly during the time (1838-1839) when the the composer was living with George Sand in very unpleasant conditions at Valldemossa on the island of Majorca, the preludes explore the moods evoked by various key signatures. Mr. Floristán offered sixteen of these precious, and while the individual numbers were not listed in the program, many were familiar - including the beloved Raindrop prelude, and the #7, heard in Mikhail Fokine's ballet Les Sylphides.

Mr. Floristán's polished technique and mastery of mood changes made this Chopin collection a true delight; the pianist veered from the subtle to the passionate, taking the listener along on a musical journey that was at once poetic and brilliant. 

Beethoven's Piano Sonata No. 23 in F-Minor, Op. 57, is usually referred to as the "Appassionata", though it was not the composer himself who suggested that name. Written between 1804 and 1806, the sonata was published in Vienna in 1807 and is dedicated to Count Franz von Brunswick. Mr. Floristán chose this fascinating work as the centerpiece of his recital, and he played it impressively.

From the sonata's hushed opening, the pianist deftly employed a vast dynamic range, drawing us in to the music. The silences in the Allegro assai were filled with anticipation, and the movement's dazzling conclusion was a veritable explosion of virtuosity, triumphantly played.

The central movement, marked Andante con moto, is a theme and variations setting. Mr. Floristán introduced the stately theme with measured dignity, and then - showing a sure sense of rhythmic clarity - played the increasingly animated variations with flair. The music becomes lively, with sparkling coloratura which the pianist played with dazzling speed. The return of the theme was thoughtfully rendered, and then the sonata proceeds without pause to the final movement.

This finale is a whirlwind Allegro ma non troppo - Presto affair, placing great demands on the pianist. It is a flow of rapid notes which Mr. Floristán reeled off vibrantly, pausing suddenly for an unexpectedly calmer respite. The music then takes on a locomotive drive to a wildly accelerated coda, dramatically played.

The pianist returned after a brief pause to delight us with George Gershwin's Three Preludes. This is music that became familiar to me many years ago because a pianist-friend, used to play them in his recitals. Back in those days, I rarely listened to anything but opera; but these Gershwin preludes made a lasting impression. I greatly enjoyed hearing them again tonight, as performed by Mr. Floristán.

The first prelude opens with a signature bluesy phrase from which the music then develops, with a South American, seductive sway. The second is a lullabye, played with delicious nuance by Mr. Floristán. The third prelude, known as the 'Spanish' prelude, is short and fun, and here the pianist showed off his rhythmic fluency to superb effect.

This same pianist-friend of yore also introduced me to the music of Alberto Ginastera; it was with Ginastera's Danzas argentinas, Op. 2, that Mr. Floristán closed his program tonight. These brief dances seemed to perfectly compliment the preceding Gershwin.

Danza del viejo boyero ("Dance of the Old Herdsman") is subtle and a bit hesitant, as if the dancer's feet at first won't cooperate. Danza de la moza donosa ("Dance of the Donosa Girl") is sad and languorously dreamy at first, then becoming more passionate before a final hush settles in, with the pianist clearly relishing the pianissimo ending. Danza del gaucho matrero ("Dance of the Outlaw Gaucho") is all scurrying, fancy  footwork and sharp accents. The music becomes tempestuous, with a stunning glissando across the keyboard bringing the dance to a thrilling close.

As an encore, Mr. Floristán gave us Schubert's Moments musicaux, #3, with which he honored the memory of his grandmother, who passed away just as the pianist was preparing to come to the United States for this recital. This personal connection made the music all the more meaningful.

Now I shall hope to hear this engaging pianist again - someday soon - here in New York City, hopefully in a concerto setting.

Bravo!...a wonderful evening. 

~ Oberon

Palestrina ~ Stabat Mater

Giovanni Pierluigi da Palestrina's STABAT MATER performed by the Antiphonus Ensemble at the Zagreb Cathedral in 2010.

Watch and listen here.

Jane Marsh ~ Willow Song & Ave Maria

Jane Marsh sings the Willow Song and Ave Maria from Giuseppe Verdi's OTELLO. Listen here.

Ms. Marsh studied voice at the Oberlin College/Conservatory, and studied acting at the Elisabeth Holloway School. In 1966, she won the International Tchaikovsky Competition in Moscow, the first singer to win its gold medal.

She debuted in Europe at the Spoleto Festival as Desdemona in OTELLO, conducted by Thomas Schippers. Her American debut was as Pamina in THE MAGIC FLUTE at the San Francisco Opera. Ms. Marsh appeared at major opera centers in Europe - including La Fenice in Venice, the Teatro San Carlo in Naples, the Vienna State Opera, and in Berlin, Munich, Hamburg, and Madrid - and at the great music halls of Europe and the United States. She has been awarded the New York Handel Medal, a special Presidential Award, and a Time/Life Merit Award.

Indigenous Peoples Day ~ 2021

Farewells: Ask la Cour

Above: painting of Ask la Cour by Elaine Kurie*

Saturday October 9th, 2021 - The tall Danish dancer Ask la Cour bade farewell to New York City Ballet this evening. As the pandemic stretched out far longer than most of us expected, I wondered if NYCB would be able to re-open and if Ask's farewell performance would actually take place. I purchased my ticket in advance, hoping for the best. It turned out to be a wonderful, uplifting evening, commencing with catching up with Wendy Whelan and Kurt Froman before the dancing started.

One of my favorite memories of watching Ask la Cour was at the Manhattan Movement and Arts Center in 2011, when Justin Peck was preparing a program to take to Saratoga. Ask and Teresa Reichlen were to dance excerpts from Balanchine's APOLLO; photographer Matt Murphy was with me to capture moments from this unforgettable studio session: here.

Then came an additional treat: Justin's THE ENORMOUS ROOM was also on the bill for that Saratoga performance, and Sean Suozzi joined Ask and Tess to rehearse this Mendelssohn piece while Matt Murphy continued shooting: here. Such a great experience for me, watching three of my dance idols in an intimate studio setting.

Ask could move effortlessly from the classic look of Balanchine's DIAMONDS (above, with Sara Mearns)...

...to the more contemporary style of FOUR TEMPERAMENTS (above). 

Ask made an outstanding impression in such diverse roles as the Prince in FIREBIRD, Rothbart in SWAN LAKE, Friar Laurence in ROMEO & JULIET, and - so moving - as the Father in PRODIGAL SON. He was poetic in LIEBESLIEDER WALZER, EMERALDS, SERENADE, and Peter Martins' MORGEN; bereft in the Élégie from TCHAIKOVSKY SUITE #3; lyrical - and later annoyed - in BARBER VIOLIN CONCERTO; on the brink of madness in Davidsbündlertänze; sexy in the Russian dance in SWAN LAKE; and a perfect Balanchine/Stravinsky cavalier in STRAVINSKY VIOLIN CONCERTO and MONUMENTUM/MOVEMENTS.

Ask la Cour talks about one of his signature roles - in Balanchine's STRAVINSKY VIOLIN CONCERTO - here.

Ask and Maria Kowroski dance the pas de deux from Christopher Wheeldon's AFTER THE RAIN - filmed at daybreak against the New York City skyline - here. Ask and Maria danced this duet tonight as the program's finale.

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For his farewell gala, Ask danced Balanchine and Wheeldon. Clothide Otranto was on the podium, and the New York City Ballet orchestra were in fine fettle, playing music from Gluck to Muhly.

I'll always remember the first time I saw Balanchine's MONUMENTUM PRO GESUALDO/MOVEMENTS FOR PIANO AND ORCHESTRA: I was headed to a matinee at The Met, and I popped into the State Theater to watch M/M which was the first work on the program. Helene Alexopoulos was the ballerina that afternoon. I was fascinated watching the dancers of the corps de ballet rearrange themselves in new patterns after each movement.

These are two of Stravinsky's most intriguing scores; tonight, Alan Moverman was the piano soloist for MOVEMENTS. When the curtain rose, I realized how out-of-touch I have been with NYCB these past few years: I hardly recognized anyone on that stage. Aside from Teresa Reichlen and Ask, Mary Elizabeth Sell and Gil Bolden were just about the only really familiar faces.

Tess and Ask made such an impressive partnership, with their long limbs and their cool command of the intricacies of the choreography. MONUMENTUM/MOVEMENTS seemed like a breath of fresh air tonight, and I particularly enjoyed Balanchine's combinations for the corps in the second ballet. 

Justin Peck's ROTUNDA, to music by Nico Muhly, came next; this was my first opportunity to see it. Over time, I have run hot and cold over Justin's ballets, sometimes finding them soulless. But I loved ROTUNDA; from curtain-rise to dramatic finish, both the airy, spacious staging and Muhly's fine score made a very positive impression.

The dancers, casually dressed, outdid themselves. In the ballet, they periodically huddle in a circle, as if choosing who will dance next. Two just-promoted ballerinas - Indiana Woodward and Unity Phelan - were delightful in contrasting ways; we can expect much from them in the coming seasons.

It was lovely indeed to see Sara Adams and Claire Kretzschmar again, and I was truly impressed by the pairing of Miriam Miller and Andrew Scordato: two tall dancers, dancing to perfection. Daniel Ulbricht, as always, lit up the stage, though he is somewhat under-utilized in this ballet. I've admired Daniel Applebaum since he first appeared on this stage; he's grown into an exceptional presence, so pleasing to watch. Jovani Furlan and Gil Bolden rounded out the male contingent.

Simply stellar dancing from Megan Fairchild, debuting in this ballet tonight, won the audience's delighted approval both with her thoughtful, flowing dancing of her solo and later in a magical pas de deux with Gil Bolden. What a captivating performance!

Watching the charismatic Gonzalo Garcia onstage tonight, one wonders why he would even think of retiring: what a complete artist he is. His solo was spellbinding; the audience seemed to hold its collective breath as the danseur moved with consummate grace about the space. And it is Gonzalo who brings ROTUNDA to its striking finish: realizing he is alone, he rushes forward into a sudden blackout.

Balanchine's CHACONNE, to music from Gluck's poignant opera ORFEO ED EURIDICE, was danced by Sara Mearns and Russell Janzen. Their performance drew great applause from the audience, though I found myself missing Kyra Nichols. Baily Jones and Harrison Coll did very well in their tricky duet, Aaron Sanz was marvelous in the pas de trois, and Kristen Segin thoroughly charming in the pas de cinq. The flautist played the haunting Dance of the Blessed Spirits exquisitely.

The pas de deux from Christopher Wheeldon's AFTER THE RAIN united Ask and the soon-to-retire Maria Kowroski; pianist Nancy McDill and violinist Kurt Nikkanen performed the haunting Arvo Pärt score from the pit.

Maria's dark hair came as a bit of a shock, even though I had seen photos in advance. She and Ask gave a lush performance, Ask's partnering so astute and so caring. Their curtain calls were a poignant souvenir of longtime colleagues and friends savouring one last dance together.

 

At the end, Ask (above in a Henry Leutwyler photo) was given a classic NYCB send-off from both the audience and his colleagues. Each of his fellow dancers came out to give him flowers and an embrace, and each carried a Danish flag. Amar Ramasar and Ask had an amusing dance-off. It was a happy farewell.

During the applause, I was remembering not only Ask's many excellent performances but also his kindness to me when I was suffering from sciatica in 2017. He sent me some excellent advice about dealing with the problem, which I'll never forget.

More recently, as the pandemic moved into its second wave this past Summer, I ran into Ask outside the stage door one afternoon and greatly enjoyed talking with him. He was heading to Denmark that day, and it's to Denmark that he'll now be returning, to teach at the Royal Danish Ballet School, and to work with Nikolaj Hübbe at the Royal Danish Ballet. Held og lykke, Ask!

~ Oberon

* Note: Elaine Kurie's painting of Ask la Cour (top of the article) was awarded First Place in the Portrait Society of America Members‘ Show. Visit Ms. Kurie's website here to see more of her beautiful work.