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  1. Today
  2. She is a prima ballerina at ABT. As such, I think it would be degrading to not treat her as we do others, on the merits of her dancing. Why should she be treated any differently?
  3. Thank you for linking to that thread, Jane. Hard to believe that some of us have been hanging out here that long.
  4. I'm so glad that Imler will be dancing some Balanchine, as well as that Tharp -- she and Porretta just nailed it the last time they did it.
  5. His arched feet won't change, but his ability to use them might -- and they have been missed now for over two years. But my guess would be that Macauley (and others) are fussing about the number of entrechats at this recent performance because they seemingly offer vivid concrete evidence Hallberg has worked through his foot/ankle injury. Otherwise Hallberg could have opted not to do them. That said, I am often puzzled by responses to performances that fixate on one particular technical challenge with little attention to anything else--however iconic that challenge has become. As part of a bigger picture -- sure: Baryshnikov's brisees, in his earliest post-defection Albrechts, were fleeting images of pleading and desperation. One could hardly talk about his Albrecht and NOT mention them. But I think it happens partly because it's hard to convey dance in words. Much easier to say 'he did x number of entrechats.' It does also happen because certain moments start to be seen almost as tests by some ballet goers. I don't necessarily think it's the dancer's fault though. There are people whose first question about a Swan Lake will always be about the number of fouettés...I am not saying they don't matter at all, but big picture? You can do 32 of the fastest most brilliant fouettés imaginable and still not be a great Odette-Odile. (I've seen it.) To return to Hallberg--I'm thrilled he is back and very sad I won't be able to see him dance this season. I also hugely admire the grit it took him to get back. As for the attention his return is garnering--in addition to his qualites as a dancer, Hallberg played a small role in ballet history when he was invited to join the Bolshoi. Particularly for older fans, those who vividly remember the era of defections from Russia etc, that's notable. (Never saw Hallberg in Balanchine--which Vipa mentioned--but as Oberon in Ashton's Dream, the role created for Anthony Dowell, he seemed to me the one post-Dowell dancer I had the chance to see--including Gomes--who came closest to capturing some of what Dowell did.)
  6. Copeland is an anomaly in some ways. She is a ballet star who has an audience who, to some degree, is drawn to her because she is a black woman who has achieved a particular status in her field. Her achievement is admirable and inspiring but how to write about her is a problem. Do you write about her separately from other dancers, or you do you compare her to others in a particular role and risk saying she falls short in comparison to others. It's complicated.
  7. Hmmmm.....I don't see why not, but leaving that aside, the OP referred specifically to the Times' motivation for publishing a piece discussing Copeland's performances rather than those of other dancers cast in the same roles, and I was commenting on that. No argument there, and such discussion is welcome.
  8. Hi, if you've read my introduction then you already know that I'm from Argentina. Through all these years searching for information about ballet history and technique, looking for books, documentaries, video footage, etc., I've come to a small video footage of Baryshnikov at around 16 or 17 years old, doing a lot of exercises on the Vaganova ARB. After searching for its origins, I got to know it's some kind of leaked piece from some films Misha donated to the New York Public Library for the Performing Arts on the Jerome Robbins Dance Division. It's a 93 minutes length video of him and a few other dancers doing lots of training exercises at Vaganova, that would be PRICELESS to be able to watch and save. But is it possible to ask for some kind of temporary link to view it, or something ? Or is the only option that I travel all the way to New York to go watch it ? Wouldn't mind the last, but I won't be able to pay it anytime soon. Thanks in advance for any replies.
  9. Well yeah, Teatro Colon has its issues between the company's dancers and their directors. Sad but true. Even the school is somewhat poor in teaching quality, most students look for others teachers, or go to other companies or even countries. Not the brightest situation here in Argentina for ballet.
  10. I didn't see the Pacific Northwest Ballet version that tried to go back to the original French sources, unfortunately, but Doug Fullington has said that the original first act Giselle was quite spunky, not the one-foot-in-the-grave Gorey cartoon we sometimes see. (My words, not his!)
  11. I second that. Yes...he is tall, elongated, impossibly curved insteps and so on and so forth. He always reminds me of the feeling that Zakharova gives me-(unlike him I have never seen her live). That said, I would still get Marcelo ANY day over Hallberg in any given performance.
  12. David Hallberg has returned and that's great. I've been a fan of his in the past but not as ecstatic as some. I saw him do a fantastic performance of Giselle with Cojocaru some years age that is seared in my memory. I've also seem him in some Balanchine works in which he was way less than excellent. That said, he is a great dancer but I am a bit mystified by the greeting he is getting upon his return. Macauley posted on instagram the number of entrachat he did in Giselle (G. Murphy's Giselle}. If that deserves mention in a performance of Giselle, I believe there is a problem with the performance. The constant comments about the man's arched feet puzzles me. Yes, he has super arched feet, that is not going to change. Anyway, I am glad he is back and look forward to his performances. I am sure some will be great, others OK, and maybe some not so good.
  13. I for one have never thought that Giselle needs to be a totally shy, innocent girl. There are so many moments when she is in fact head strong, opinionated. She teases and flirts with confidence, and certainly makes the bold decision to turn away Hilarion in favor of Albrecht. While she is ultimately betrayed, still in Act II she has the courage and again the confidence to stand up to Myrta in her attempt to save Albrecht. While she shows deference to Myrta, she understands that if ever there was a time to be bold, this would be it. I thought Gillian's portrayal had all of those elements of strength and courage. It's what made it stand out for me. Her layering of the smallest details only added to her character. Not since Ananishivili and Cojocuru have I felt such complete commitment to the role. All three are very different in their portrayals, but that's what makes this role so much fun to watch. And with the strength of Gillian's technique, I never once had to worry "would she make it"? I could simply enjoy an immerse myself in her performance. Bravo to all from last night!
  14. Yesterday
  15. It's been great reading everyone's reviews of the May 27th Giselles. I always felt that Gillian Murphy would not make for a believable young peasant girl with a weak heart. When I saw both Cynthia Gregory and Nina Aniashivelli in Giselle I felt the same way. What about Isabella Boylston? If anyone sees her performance in Giselle, please post about it.
  16. That seems no more presumable to me than any number of other explanations for the piece's appearance. And I say that with no particular agenda or implication in mind. I just don't think we can presume such a thing (indeed, "unless...evidence surfaces to the contrary") about Seibert's or the paper's purpose for writing or publishing the piece -- nor do I particularly think their motivation(s) matter(s) all that much. The piece exists, as a thing to be commented on, regardless of why.
  17. I was also at the matinee yesterday and I haven't been able to stop thinking about it. I agree with what so many others have already said. I was so excited to see Lane's debut and had high hopes but she far exceeded my expectations. I wasn't prepared for the emotional wallop and I have never felt so uncomfortable watching the mad scene before. Lane was so natural with everything she did, nothing looked contrived or even thought out. She made me believe I was watching an innocent in-love girl lose her mind. Her extensions were higher than ever, her turns were fast and effortless, her jumps light and airy, and her ports de bras and upper body are as beautiful as ever. To echo someone else above, hers are the best in the company. She is the most natural Giselle I have ever seen. Lane and Simkin are a great pairing and when they were blowing kisses at each other early in Act I they really looked like kids in love. Simkin's dancing was breathtaking. Good heavens....those leaps of his! His partnering has greatly improved but you could see the shakiness in a few of the overhead lifts and he couldn't get her high enough in a few others. But, no big errors and they have amazing chemistry. Shevchenko was a formidable Myrta, commanding with the confidence of a principal. She too was even better than I had anticipated. As as others have noted, I too have been hoping for a Lane R&J and after yesterday I can only imagine how heartbreaking she and Simkin would be together. I'm going to hold my breath and cross my fingers that Lane will now get the promotion she deserves. If it can happen for Abrera perhaps ABT will see the light a second time.
  18. Yes, I surmised as much when Carmena got flowers and the dancers all applauded him. Just wish he had gotten a solo curtain call! I have enjoyed him in many, many performances over the past years. I will miss him! I was astounded by how fresh and wonderful Maria Kowroski looked. Honestly, when she went on maternity leave and then took so long to come back, I doubted I'd ever see her again. And I certainly never thought to see her like this! I couldn't detect any diminishment of anything. Those legs! And so charming and funny with Bottom. Top-notch Maria Kowroski. Thanks!! Her maidens include so many promising dancers. Newcomer Christina Clark is lovely and graceful. And I really, really wish to see more of Isabella LaFreniere. She has a presence and a beaming smile that could fill up the whole stage. I saw Sean Suozzi do Puck twice this season. Two very heroic and committed performances. I know that, like Carmena, he is a long-time soloist (not quite as long-term, I guess) and hasn't been getting new roles, but IMHO he deserves them. I was wondering how he'd be as Oberon. Harrison Coll brought a wonderful pathos to Bottom. When the rustics reunited, I was brought to joyful tears, and the audience also applauded - not a moment that usually gets applause. Emily Kikta (Hippolyta) dances on a grand scale. She's another one I'd like to see more of. It was a strange season, starting with a blast of brilliant Balanchine, then I dipped a little into Ratmansky, followed by a solid month of no performances at all. Then MSND. Bring back the Balanchine!
  19. Unless other evidence surfaces to the contrary, presumably Seibert wrote about Copeland's performances because they interested him, with or without encouragement from an editor who might think readers would be interested as well, and no slight to other dancers was intended by him or the Times.
  20. Thank you, again, abatt. Everyone has been so kind and it's very comforting to have this knowledgeable, intelligent and devoted ballet community, despite that I don't post much lately due to a very busy life right now. Well, I've definitely spoken my piece about how I feel about Sarah Lane on this topic and I agree with you.
  21. I have mixed feelings about Seibert's piece. On the one hand, it seems unfortunate that Seibert writes so extensively about two apparently (at least to his eyes, as his descriptions suggest) middling performances when other excellent ballerinas are also performing. On the other hand, Seibert's appraisals strike me as refreshingly honest and a valuable reminder to his readers that ballet can be so much more than what now appears on the Met stage approximately twice each week.
  22. So sorry you missed the performance, KarenAG. Hopefully McKenzie will now give Lane the roles she has deserved for so many years, including more Giselle performances. Based on her performances over the years, including her Giselle last night, she deserves to be promoted. I'm not holding my breath, though.
  23. Thank you, Natalia. Yes, it is certainly a gamble. I've had a couple of issues traveling 3 hours to NYC for ballets and other concerts, but I've never experienced anything like yesterday. Thank you, Angelica. So am I. However, it is indeed gratifying to hear all the lovely and positive comments on Sarah's performance, as well as the interesting posts about other Giselle's at ABT this season.
  24. https://www.nytimes.com/2017/05/28/arts/dance/misty-copelands-down-to-earth-debuts-in-don-quixote-and-giselle.html?rref=collection%2Fsectioncollection%2Farts&action=click&contentCollection=arts&region=rank&module=package&version=highlights&contentPlacement=1&pgtype=sectionfront&_r=0 I thought this review was a pretty accurate account of Misty's performance in Giselle. I guess the Times doesn't regard the other debuts in Giselle that occurred on Saturday as worthy of review.
  25. Per Alistair MacCaulay's instagram, this afternoon was Antonio Carmena's farewell to the company: Also Antonio's own instagram:
  26. Van Cliburn International Piano Competition At present, it is being broadcast live for free: http://cliburn2017.medici.tv/en/ "Don't miss the last day of the preliminary round! The competitors selected for the quarterfinals will be announced afterward. #Cliburn2017 encompasses more than 110 hours of live performances, interviews, and exclusive backstage content—all available live and on replay for free at cliburn2017.medici.tv!"
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