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  2. Yesterday
  3. Well worth watching on Medici.TV: Sir Antonio Pappano conducts Verdi, Prokofiev, and Respighi – With Martha Argerich Orchestra dell'Accademia Nazionale di Santa Cecilia (Rome) https://www.medici.tv/en/concerts/sir-antonio-pappano-conducts-verdi-prokofiev-and-respighi-martha-argerich/ Registering is free, and this concert program is currently available to be watched by non-subscription users. "It is one of the most important concerts of the end of the year: Martha Argerich returns to Carnegie Hall for the first time in nine years to play one of her specialties, Prokofiev’s Piano Concerto No. 3. She is joined by Rome's Orchestra dell’Accademia Nazionale di Santa Cecilia, returning to the celebrated venue after a 48-year absence." Program Giuseppe Verdi, Aida Sinfonia Sergei Prokofiev, Piano Concerto No. 3 in C Major, Op. 26 Maurice Ravel, Ma mère l'Oye Ottorino Respighi, Fontane di Roma Ottorino Respighi, Pini di Roma Jean Sibelius, Valse triste Gioachino Rossini, Guillaume Tell Overture
  4. 2016-17 season

    I saw Swan Lake in June with Hannah Fischer. While I'm sure she has great potential, if given the choice I would have liked to have seen a performance with principal dancers in the lead roles. Also, it wasn't clear to me why all of the lead roles were cast with second soloists. Perhaps if the casting was set before ticket purchase.....it would have seemed more fair. Since then I have been trying to strategize on what nights to pick tickets for the 2017-2018 Season to increase my odds of having principal dancers cast in lead roles. At the cost of sounding whiny - it dampens my enthusiasm to attend.
  5. 2017 Fall Season

    Yeah, I'm equally mystified. Perhaps Royal Blue could clarify what in the above discussion he or she is responding to? (Or if this is a new and separate point.) And what precisely are the "profound and intricate issues" in Duo Concertant that RF & SH either did or did not successfully deal with in their interpretation?
  6. 2017 Fall Season

    Huh? Hyltin and Fairchild have danced Duo Concertant many times over the years. It's actually one of their specialties. The performance last Sunday was one of two very experienced dancers who knew exactly what to do with this ballet.
  7. 2017 Fall Season

    Although they are mentored and coached by elder colleagues and are professionals, artists in ballet are mostly young people occasionally (at least) required, while they are growing and learning about the world, to interpret roles in works dealing with profound and intricate issues. Valid criticism of their efforts is, to be sure, legitimate and even imperative. Still, members of the audience should be considerate and mindful of the sheer reality that these young artists are actually at the same time experiencing life also--something that in turn impacts their art. To wit, it is essential to recollect not only that art enhances life, but that life enhances art. However problematic it may be to acknowledge, for example, neither equivalent performances as last weekend’s of Duo Concertant nor the ballet itself would have seemed as poignant under ordinary circumstances.
  8. Jovani Furlan promoted to Principal

    Congratulations to him
  9. MCB's Jewels October 2017

    Sounds like an excellent performance. I feel that when it is done right Emeralds is anything but boring, and it sounds like this performance had the needed qualities. I would live to see Miami City Ballet in Jewels ... or anything.
  10. I bookmarked this video of class at the ROH-Fateyeev remarks on Tereshkina's musicality: https://www.youtube.com/watch?v=NTdshUKN_C0 . Interesting similarities in choreography for Madaveya [Popov] and Prodigal [Mack-WB 10/8/17]. Bayadere looked as fresh as the 1929 Balanchine Prodigal Son which I do not think is dated, and mime contributes to the flow of the narrative dance. The Washington Post concluded the Mariinsky Bayadere is "stylistically epic, if only fitfully accomplished... given the sum of the experience, the Mariinsky didn’t exactly leave the impression of an artistic superpower." https://www.washingtonpost.com/entertainment/theater_danc/the-ballerina-who-fights-back-in-la-bayadere-she-wont-be-manhandled/2017/10/18/fc0ee978-b41d-11e7-99c6-46bdf7f6f8ba_story.html?utm_term=.db410ca4b55d#comments . Full company brilliant technical and artistic execution= WP "two were jewels in a production that otherwise felt artistically slight." Does this language imply Tereshkina and Kim resembled guest stars plopped in a regional Nutcracker? Props=WP geegaws. Imperious High Brahmin[Kulaev]=WP bored. People might gasp with delight at the elephant=WP laugh. Note Indian tradition is VIP grooms arriving on an elephant. Removing the elephant might be akin to removing Balanchine’s growing tree in his Nut. Another reviewer takes queues from MacCauley deeming the 2nd act a ludicrous pageant as well as 60% of Bayadere trash. http://ionarts.blogspot.com/2017/10/mariinsky-ballet-returns-with-curious.html . “It has to be said that La Bayadère is not exactly a work for the ages.” Date checks on Bayadere indicate it has been around for over a century [current version 1941 with some mime removal?]: [1] it’s not a churned piece [2] the box office has spoken-few tickets left for weekend shows, Sunday sold out while others have had 25%+ open and lower prices. Other reviews have divergent opinions: https://www.broadwayworld.com/washington-dc/article/The-Mariinsky-Ballet-Stages-LA-BAYADERE-20171019 , http://dcmetrotheaterarts.com/2017/10/19/review-mariinsky-ballet-la-bayadere-kennedy-center/ , and https://dctheatrescene.com/2017/10/19/mariinsky-ballets-la-bayadere-stunning-thrilling-review/ . "One leaves the theater elated by the Mariinsky’s sheer concentration of talent, effort, and artistry."
  11. Mariinsky Bayadere KennCen Oct 22-17, 17

    Woetzel's program was interesting (and it provided an opportunity for this financially-challenged ballet fan to sit close to the stage), but there were a heck of a lot of empty seats for a program that was listed as a sell-out Thursday morning. It ran longer than advertised, finishing about the same time as the 2nd act of La Bayadere. Julie Kent made a cameo appearance, dancing the famous dance from The King and I with Woetzel. I fortunately managed to get to the Tue, Wed, and Thu La Bayadere performances, since tickets for the weekend performances are both rare and expensive. Since the Fri performance was a sell out, I figured there was no chance to sneak in to watch the 3rd act.
  12. Joy Womack

  13. MCB's Jewels October 2017

    Last night I saw Miami City Ballet's Opening Night Jewels (and opening of their season)......I was hoping to see similarities to NYCB's Jewels since MCB is a sort of daughter of that company! And I feel I did see just that but with a slight Miami flavor. Tricia Albertson showed off gorgeous flowing arms in Emeralds which highlighted the lush music of Faure wonderfully. I loved every movement she made. Her off balance balances were great showing off good Balanchine style too. Rainer Krenstetter partnered her wonderfully. Emily Bromberg also had nice arms and did the "clock" movements well (not sure if that is what they are called but it always reminds me of a clock.....maybe passage of time?)......Emeralds can be the most boring of the 3 Jewels ballets, but it was not boring at all. I was mesmerized. It was a perfect welding of the music and movements that kept my attention, and I noticed that the corps was fast when speeding past each other like NYCB. Renan Cerdeiro partnered Bromberg, and both were great together. I never saw them paired and I thought it was a good pairing. Nathalia Arja, Shimon Ito, and Ashley Knox were all great in the trio......this Emeralds was actually fun and exciting. Katia Carranza (returning to the company this season) and Renato Penteado danced the couple in Rubies, and Penteado is always a wonderful dancer. Carranza was also very good, and they both had great charisma together. To me they brought a slight extra Latin pizzazz to Rubies that worked well since it is so jazzy and playful. Maybe it wasn't Latin, rather just slight spiciness. Jordan-Elizabeth Long came on like a femme fatale as the Tall Girl in Rubies, and I personally loved it. Her high attitudes were amazing, especially with those long legs. After one high attitude it did look like she almost fell out of it, but she recovered instantaneously. There was a slight wobble at one of the penchees as she left the stage (after the guys rotate her legs), but after that stretch I don't blame her. It must be so tiring. Those are minor quibbles. I loved her as the Tall Girl. She reminded me of Tess Reichlen, who I saw in the role at NYCB, but with a more femme fatale personality. So, after an exciting Emeralds and a fun Rubies, I was waiting for Diamonds with Simone Messmer and Jovani Furlan. Expectations were high. Although I liked what I saw I felt Diamonds was the weakest link, since the whole company seemed less energetic in Diamonds. Maybe it was an artistic choice (trying to play up the regal Russian style). I am not sure. But when I saw several Jewels at NYCB I was wowed by the speed and excitement that company brought to Diamonds. Nothing Messmer or Furlan did was wrong or bad. In fact, they were pretty good. In the past I have not quite understood why Lourdes Lopez seems to cast Messmer as if she were the company's Lopatkina. I have considered her mannered in the past (acting like a Russian prima ballerina without the goods to back it up), but tonight she seemed to act more like herself (like a regular person) and not as if she were trying to be something she is not, so I actually liked her a LOT better than I used to. I did wish for more speed in the chaine turns during the coda. Mearns at NYCB does the chaine turns at an incredible speed. However, Messmer was both regal and down-to-earth (if that makes sense). It was the right amount of woman as opposed to swan, right amount of regal movement without seeming pretentious. I liked her performance but it didn't knock my socks off. But I look forward to seeing her again now. I used not want to. I think she is getting better. I hear that Furlan was promoted to Principal, and he did look very princely and partnered very well. The audience loved him. The company needs a tall, strong partner. I do think he and Messmer look good together. He had a couple of sloppy landings that should have ended in fifth, but even the best male dancers can mess that up. Overall, I have always been impressed with his dancing. Anyway, I was glad I drove down to Miami to see this. I had to brave horrendous traffic and an accident that slowed things down. My partner and I drove to Jupiter to meet movers to move my parents' belongings up to Gainesville, and I saw that I could catch Jewels. In high school and college it was nothing to drive from Jupiter to Miami, but times have changed. The drive is HORRENDOUS! So won't be going tonight (I am back in Jupiter). I usually catch MCB during their West Palm Beach shows (20 minutes from my parents' house which is about to sell). Last night was sort of a "Goodbye" to MCB as my "sort of" official local company b/c I used to see all their shows. I probably won't anymore unless it is one I don't want to miss. I will also probably fly to West Palm or Miami for a show instead of driving from now on, since I will no longer have a home base and so I will book a hotel and fly and use uber to get around. The only really bad thing about MCB's Jewels are the backdrops. I didn't mind that the LED lights were simply green against a black backdrop during Emeralds. In fact, it sort of looked nice. They were red in Rubies but then turned into a tawdry dance hall or night club or whatever. Frankly, I don't know what it was supposed to be, but, in my opinion, it looked dumb. Then, in Diamonds it started as just white LED lights but then in the middle suddenly there was a chandelier made out of the LED lights, and I thought that was not very elegant looking. Little did I know it would get worse and become a wreath of chandeliers made out of the LED lights. It looked comical in fact. If Diamonds were a comedy it would be great. Thankfully, I care more about the dancing than the sets so it did not ruin the ballet at all. However, if I were a huge donor to MCB I would be lobbying big time for new backdrops for Jewels. Lopez is not afraid to bring in new productions (she did an underwater Midsummer and is bringing in a brand new production of Nutcracker), so next time she presents Jewels she should present it in a brand new production. I think I would have preferred a solid black backdrop for all three ballets rather than the LED lights.
  14. Drew, everytime I have seen Tereshkina (and I have seen her in person as Nikiya twice and as Odette/Odile twice among other things) she gives her complete all to the audience. I do not understand why some say she is a cold dancer. I find it to be the exact opposite. She is a very warm dancer giving her all technically and emotionally even though, in my opinion, she's not the best actress....but tries her best and gives to the audience). When I have seen her she never fails to motion to the orchestra at curtain calls to give the orchestra credit. For some reason Tereshkina is not someone I seek out to see, but when I see her in the cast I am happy. And after each performance of hers I recognize that she is a performer who strives to give her all to us. I read somewhere that she gives her best because she realizes some people come to see her instead of buying a new dress, so how can she not give her best? So that sounds like a very big hearted person too. I hope you paid attention to her series of turns that end in arabesque near the end of the scarf variation. She usually does triples ending in arabesque and does it excellently.
  15. Kolegova has been blonde for months. I think it must be a personal choice, not a character choice. I personally like her best as brunette or redhead.....she is such a stunning woman but for some reason I don't think blonde is her best color.
  16. Jovani Furlan promoted to Principal

    Wow! I stayed only for part of the curtain calls. I should have stayed longer. He was good and looks princely and great....
  17. Ratmansky's best ballets seem to me quite substantive--often humorous and quirky, but not superficial. You have not listed any of my favorites. From the Bolshoi repertory I would recommend Russian Seasons. Also The Bolt if only they still did it! You can get a small flavor of Russian Seasons via youtube and you can probably find The Bolt. If you like farce, then Bright Stream which is also rather brilliant in its riffs on Soviet Ballet. Ratmansky is very prolific and there is a range including quality-wise in what he does. You also may just not care for his work--we all have different tastes--but 'style over substance' seems to me reductive of such a musical, inventive, and historically self-conscious artist. I think he gets to some very interesting places formally and emotionally (anxiety haunting joy in the Shostakovich trilogy for example). The FX (You mean stage effects?) were to recreate nineteenth-century spectacle in Corsaire. That seems appropriate enough--those ballets were spectacles and full of special effects. (In some ways I prefer to distinguish Ratmansky the stager of nineteenth-century vallets from Ratmansky the choreographer anyway, and honestly I found the Burlaka/Ratmansky Corsaire felt a little long, but I did think Ratmansky's pastiche Petipa choreography for the Pas des Eventails was very skillfully done. And I enjoy that type of Petipa divertissement.)
  18. Two Casts of "Karsar" (aka Corsaire) at the Balshoy

    PS : I forgot to mention the "Special FX" put on as coda, with the ship spectacularly breaking in half accompanied by thunder and lightning and the full symphonic might of the Balshoy orchestra. Does anyone know whose composition this theme is, from among the half dozen contributors ?? Could I have a point, or could I be totally mistaken, in thinking Ratmansky has something in common with Wheeldon, namely style and FX over substance ? I greatly enjoyed American in Paris with Cope-Fairchild but could not stand Alice in Wonderland, and hated Little Humpback Horse too. Am due to see Ratty's R&J at the Balshoy premiere next month and have an uneasy feeling about it.
  19. Two Casts of "Karsar" (aka Corsaire) at the Balshoy

    No, it was Darya they were talking about on "Balshoy Ballet" or similar program. However, I just asked my friend Vita in Moscow to voice message me the three names above, and she said "Hah-lova", "Stipanova" and "Sivinard" so it's almost a full match vs your suggestion - thanks for the tip.
  20. Outside of the first movement of Symphony in C, which did not tell me much, Nikiya in Friday's Bayadere is the first time I have seen Tereshkina dance. With no exaggeration, I consider it a highlight of my balletgoing life.. I expected to admire her, but not to such an extent. I even performed a thought experiment as the curtain came down. If I had never read a word about Tereshkina what might I have speculated concerning her reputation based on the performance I had just seen? (I leave video out of this discussion, because even more than usual, it seems to fall short.) 'Surely' I would have said to myself, 'this ballerina must be well known for what the Russians call 'plastique' and for a highly expressive plastique too, indeed for the interpretive variety and subtle differentiations of every phrase and pose...and her musicality too--she must be famous for that--she dances so completely inside the music she seems directly bound not just to its rhythm, but its texture; and the phrasing as one dance figure turns into the next is extraordinary for its clarity and flow. Plus of course, people must marvel at her stage presence and, if they care about mime, her striking pantomime too.' As an aside I MIGHT have added to myself 'and with all this, she is technically meticulous.' It would never have occured to me that she is often (admitedly not always) written about, in English anyway, as if she were just a strong and consistent technician or ...cold?!? All in all, a thrilling performance yesterday from pretty much the whole company, led by Tereshkina, Kim, and Matvienko. All the stresses of travel--I am currently exhausted and insomniac in my hotel, wondering if I will actually survive the day or become horribly sick--worth it 100 times over. (Though please, if you care to, send healing energies my way!)
  21. Bare midriffs in ballet are a personal hate of mine and most dancers tend to look as you describe Kondaurova. She has never struck me as emaciated when she wears a tutu though. I always cringe when I see the scene where Nikiya dances with the gift basket, the prominent ribs, I agree, aren't a good look.
  22. Two Casts of "Karsar" (aka Corsaire) at the Balshoy

    "Hahlava" sounds like a Georgian last name. Maybe on Russian TV they were talking about some Georgian ballerina.
  23. Two Casts of "Karsar" (aka Corsaire) at the Balshoy

    You are welcome, I am not a know-all. I heard Darya's surname pronounced as "Hahlava" on Russian TV, but my friend Vita says "Hahlova" which may be the correct pronounciation. Will take you tip re the other two.
  24. Two Casts of "Karsar" (aka Corsaire) at the Balshoy

    I am going to deduct a full point from your review score for your incorrect distortion of the English transcription of Darya's last name. It is stress-less vowels that get pronounced differently, here the stress is on the second syllable, so the second vowel should still be an "o". Yes, and it should also be "Stipanava" and "Sivinard"
  25. Jovani Furlan was promoted to Principal last night after MCB's 'Jewels' performance. So thrilled for him!
  26. Fall 2017 Season

    I guess no one else attended the gala, but I couldn't resist. While I'm definitely more of a story ballet kind of gal, I really enjoyed the program on Wednesday evening. I'd say that Ratmansky's Songs of Bukovina is certainly worth seeing. I also liked Thirteen Diversions. The Gift was great fun, too, but unfortunately, it was a one-shot deal and won't be performed again this season (if at all). A very nice evening, in my opinion. I was pleasantly surprised.
  27. Fall 2017 Season

    ITA about Wiles. And Teuscher.
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