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  2. Simone Messmer

    I have seen Messmer in some major roles by know. Giselle, Odette, Titania, La Fee from "Baiser..", Sugarplum, etc. Although she has a very attractive presence that makes it a plus for her when she's onstage, I have always been underwhelmed by her dancing.
  3. Winter 2018

    https://www.nytimes.com/2018/01/17/arts/dance/like-a-prayer.html?rref=collection%2Fsectioncollection%2Farts&action=click&contentCollection=arts&region=stream&module=stream_unit&version=latest&contentPlacement=1&pgtype=sectionfront Here is a video of Maria K. practicing Mozartiana's opening prayer. I found her comments about her mom particularly poignant.
  4. Today
  5. Is Alyona Kovalyova "Zvezda" material ??

    She performed her second Swan Lake last night with Denis Rodkin. All I've found so far is a nice comment and some lovely curtain call photos at another forum. If I can find something that can be posted here I'll try to do so. I would really have liked to have been there and look forward to seeing her somewhere as soon as possible. Added: Her next debut will be as the Lilac Fairy (Sleeping Beauty) February first. (thanks to Sophia at Dansomanie for catching this)
  6. Winter 2018

    A Kowroski debut! So glad she continues to expand her rep. Also, seems that LaFreniere is back in action in week two. I know there are many fans of hers on this thread. Does anyone know what music Peter Walker is using for his new piece? Not sure if it's commissioned from Oliver Davis, or adapted from previously published music?
  7. Winter 2018

    https://www.nycballet.com/NYCB/media/NYCBMediaLibrary/PDFs/Press/Casting/NYCB-Casting_January-30-February-4,-2018_lobby.pdf Week 2 casting is up. So many exciting debuts. I can't wait for the season to begin.
  8. Simone Messmer

    Theo started this topic by writing -- "From time to time I search for dancers that pop off the grid." I was looking for something to fire my imagination and I settled here. What is it about this very creative artist ? Basically it was a performance of Gamzatti (La Bayadere) from when she was still at ABT that came to mind. To state it simply -- she was fascinating ! She created a being, totally her own, that was an artistic masterpiece -- colorful, exciting, technically fine, psychologically enthralling.... and she immersed herself completely. I've seen her in little else, but what I have seen is total commitment and brilliant invention. In addition, I've read comments, by those more focussed on this than myself, highly praising her technical ability. Lourdes Lopez, director of the Miami City Ballet, finally gave her a position as Principal that I think that she really deserves. I'm hoping that she'll also give her as much leeway as possible to do what she does best -- to be an expressive burst of creativity and beauty of her own invention.
  9. Which dancer do you most wish you'd seen live?

    Actually, there are sound recordings of Fred and Adele singing Gershwin songs from the Broadway shows. Look for the Astaire CD titled "Puttin' On the Ritz".
  10. Which dancer do you most wish you'd seen live?

    Thanks, Dirac. All this is about is my wishing that I had seen Astaire on stage, as various of my relatives and their colleagues did in London and New York, including Adele. I don't know why I can't have my thoughts based on what I have been told from first-hand spectators in and out of theatrical business and what I have read, without being chastised! But more power to you! I will respectfully no longer participate.
  11. Wednesday, January 17

    Reviews of the English National Ballet. The Financial Times The Daily Telegraph
  12. Wednesday, January 17

    Terry Teachout writes on George Balanchine, Sex Predator fo×r Commentary.
  13. Tuesday, January 16

    Atlanta Ballet looks to schedule performances at a brand-new venue.
  14. Tuesday, January 16

    A preview of Ballet Vero Beach's new program.
  15. Wednesday, January 17

    Columbia Classical Ballet presents its annual gala.
  16. Wednesday, January 17

    A story on Joburg Ballet's new CEO and her plans for the company.
  17. this has also been announced: Milestone is thrilled to announce that The Dumb Girl of Portici and Shoes — another Weber masterpiece created in the same year — are restored and available on DVD and Blu-ray for Milestone newsletter subscribers only — NOW! “Brilliant.” — Manohla Dargis, New York Times Selected for the National Film Registry of the Library of Congress Lois Weber weaves a beautifully simple story of one shop girl’s struggles into a heartbreaking cinematic masterpiece. Filmed on the streets of Los Angeles — including a remarkable scene in Pershing Square and another in front of Woolworth’s on Broadway — Weber follows the daily travails of Eva Meyer, whose meager wages from her job at a five-and-dime store are the sole financial support for three younger sisters, a struggling mother, and a father who prefers beer and penny dreadfuls to work. When there is barely enough to cover the grocer’s bill, Eva is forced to patch the holes in the soles of her shoes with cardboard. But with each rainy day and every splinter, her plight becomes more painful, and finally intolerable. With no solution in sight, Eva is forced to consider other options. The Shoes restoration by the EYE Filmmuseum combined a Dutch nitrate print and a 1930s “comedic” short reissue of the film found at the Library of Congress. Thanks to the recent discovery of the original script and intertitles in the 16mm microfilm files at NBC/Universal, the Milestone edition more closely reflects the original film. Prominent musicians and composers Donald Sosin and Mimi Rabson have created a mesmerizing and moving score. Bonus Features: Commentary track by Lois Weber biographer Shelley Stamp 1932 spoof Unshod Maiden 1971 audio interview of Mary MacLaren Richard Koszarski on Unshod Maiden Shoes: Before-and-after video 1911 short film, Lost Illusions written by and starring Weber
  18. Which dancer do you most wish you'd seen live?

    Josette, Adele Astaire was one of the biggest stage stars of the 20s, at a time when being a star of the theater was of a much higher magnitude than the designation means now, and the central attraction of the brother-and-sister double act, although Fred was indeed singled out for his virtuoso moves even then. So there’s no question of “what might have been” – Adele was. She was also regarded as the greater natural talent, as pherank said. I love him, too.
  19. 2018 Met Season

    Agreed. I'll be taking the day off from work to see her Giselle, which is a must-see. I enjoyed Whipped Cream, but didn't love it, so I highly doubt I'll be going to that again, when she's cast twice.
  20. ABT in Detroit, Feb. 8-11, 2018

    I'd imagine it is less a height issue (due to the reasons you state) and more about rehearsal time. Some ballets are easier to match up partners last minute if necessary, but due to the nature of the partnering and lifts in R&J I'd imagine that is not an ideal situation.
  21. ABT in Detroit, Feb. 8-11, 2018

    Yes, Teuscher was originally paired with Lendorf. He seems to be injury prone.
  22. Which dancer do you most wish you'd seen live?

    Thanks Josette...if you go to my blog "Ruminations" there is an article on Tallchief.
  23. Glad you enjoyed Maillot’s ballet and Krysanova’s performance. I think Katherine has to be considered one of her signature roles, especially since it was created on her...
  24. Peter Martins Sexual Harassment Allegations

    Robbins uses a similar path in one of the two male variations of "Other Dances"
  25. Once again it will be ballet travel article rather than serious ballet review. Flew in early afternoon to observe Krysanova in a different role after seeing her (imho amazing) performance as Juliet last November. Normally I hate and don't see contemporary "creations" and don't fancy Shostakovich either but took the risk of having to walk out at the interval since this was a "story ballet" I perhaps could relate to. I only had a rudimentary knowledge of the original plot (shame on me again) and as I believe good ballet should be self-explanatory I did not look up the story or read the synopsis before the performance. Last evening there were five principals on stage, as star-studded a cast one could wish for : https://www.bolshoi.ru/en/performances/714/roles/#20180116190000 and the show started with Tixomirova the Housekeeper striking a pose in front of the curtain before the conductor came out - what a character she is. My companion told me that Tixo had a baby a few months ago (which I at first misunderstood as "Tixo will have a baby in a few months" so I was watching her with horror for the first 20 mins or so as she did high jumps all over the place) - nice to see her back in fine form. From the action on stage can someone who doesn't know the plot at all make out the story ? Imho no way : one can understand that it's about a girl who roughs up and generally treats badly a number of men who try to woo her but anything more elaborate that this would be hard to dream up. But having said that I found this creation quite watchable dance and music wise and will see it again, this time in full knowledge of the original story and the printout of the synopsis of this staging in hand. I found it to be a quite watchable slapstick comedy if one can call it that. And it taught me that Shostakovich could write excellent melodic score when he wanted to, the score of this ballet is a pot-pourri of tunes from various compositions but someone has made a good job of stitching them up. Now Katya : (at this point I have to disclose that I have been reported as a propagandist for Krysanova, so maybe readers should take in my views with a pinch of salt !) was it Kuznetsova who wrote after the premiere of the Ratmansky R&J that "Krysanova the actress outshone Krysanova the dancer" ?? After seeing her as the Shrew last night I fully agree with this appraisal - imho here we have an extremely talented "character actor" in addition to a dancer with excellent technique, a combination not found quite so often. OK, R&J and TotS are not "classical ballets" per se but I have seen Katya also as Kitri and Medora where in my (malevolently biased) view she outshone the other leads I saw in consecutive performances, the other Kitri being Zaharova. I hope quite a number of our membership will make the effort to see the Ratmansky live cinecast coming up this Sunday so that we can open a thread to discuss both her acting/dancing and the Ratty staging vs original Lavrovsky. Last night created quite a dilemma for me : I bought tix for the Shrew after casting was posted, to see Krysanova. This performance was at the New Stage, but afterwards while looking up what Alyona Kavalyova is slated for what do I find : on same evening Alyona is to dance the lead in Swan Lake at the Historic Stage ! No tix left on Balshoy website of course, but yesterday while checking in at the hotel the concierge said "have you come to see Swan Lake ? We have a nice seat on the second row of parter at a good price" ....... it was good for me that I had one of my friends as my guest for the Shrew, and that the concierge did not have two tix for Swan Lake, so I managed to keep on course !
  26. Peter Martins Sexual Harassment Allegations

    Also (not quite the same, but I view it as being in a similar spirit) the Nutcracker PDD male variation begins with the dancer basically standing center stage and then tipping over to the left into his first steps. (Some dancers have done this in a more pronounced manner than others, I think.) Macaulay wrote about it in one of his reviews (from Dec. 10, 2010): The character of course fits Drew's description of being "boyish," as the adult pair are grown-up projections of the child leads.
  27. Princess and the Goblin is kind of a love letter to ballet -- especially the way it is passed from generation to generation. It has playful bits, but I found it a far cry from the jokes about ballet in Push Comes to Shove. (Re On Pointe's remarks about Tharp making fun of ballet with her choreography for Baryshnikov etc.: Ratmansky has created a virtuoso male solos that involve stopping-and-starting awkwardly, falling out of closing positions, not really having to land securely etc. --the examples I remember are for "boyish" characters, the leads in Whipped Cream and Little Humpbacked Horse, and always with the punch line being some final bit razzle-dazzle. Even so, I've always been struck by the fact that it does allow for some cheating on the male dancers part. These solos also seem to be making fun of expectations for male dancers in a way that can seem kind of coy.)
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