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  1. Today
  2. Wishing Krohn well! I haven't seen her much but each time I have I've always been impressed with her exquisite lines. Regarding the soloists, I recently saw Woodward in Dances at a Gathering and felt she held her own with the principals and I love the energy she brings to each of her roles. I've also been very impressed with Sara Adams since her promotion -- she seems to be bringing new enthusiasm to her dancing. I haven't seen much of Isaacs but I did see her Russian Girl debut a few years back. It had promise but felt forceful, not the polish and refinement I normally expect in the role. I hope she's progressing well as I haven't seen much of her lately. Has she been injured? It seems I'm in the minority but while I find Pollack to be technically proficient, I don't find her particularly exciting. It's wonderful to have so many incredibly talented dancers and the vast repertory we're exposed to at City Ballet!
  3. Well the livestream of the Bolshoi was also about 1 hr 45 min tops of dancing so I don't think anything was cut. My review is here:
  4. Nadia and Stepin seem to be getting casted together most of the time, a (young) good partnership at least!
  5. And that's a good thing, to quote Martha Stewart.
  6. I filed a ticket early this evening due to site issues, which manifested themselves differently for me on IE and Chrome on a Windows machine. There was a task that had stopped working properly, and it was addressed. However, you may need to clear your browser cache if you continue to see intermittent issues.
  7. I agree with all the praise for Laracey and hope she gets the promotion that she deserves. With Krohn and Scheller leaving, I am crossing my fingers! Putting my bias for her aside, of all the soloists, I think she is the only one who is ready to be promoted. The others who will likely get there one day (Phelan, Woodward, maybe Gerrity) are still new soloists and need time to develop. Definitely Isaacs as well, but I feel like she also needs more time. Maybe it is just me, but I feel like she has often been out for injuries in the past year or two. LeCrone has a unique look and seems like she could take over long-legged principal roles like Agon, but with Kowroski and Reichlen, there doesn't seem to be much need. Also a doubter about Lowery and King. Regardless, best wishes to Krohn! Very exciting she will stay in the NYCB family!
  8. A few notes/corrections --The next livestream is scheduled for August 18. --Liang's music is by Oliver Davis. --the rehearsal pianist was Ronny Michael Greenberg.
  9. I was at Taming of the Shrew tonight. During the first act the fire alarm went off and it was chaotic for about 10 minutes. That unfortunately was the most exciting part of the evening.
  10. She was an amazing talent and this is truly one of the best performances of that pas ever. I don't know the occasion of the video but I am sure happy that it was recorded.
  11. LeCrone has gotten plenty of opportunities and seems favored by management. Appears in lots of ads and promotional videos - someone up top must love her look. But she is not critically favored. I wonder if that will hurt her chances. I also doubt Lowery would be promoted. Laracey. They should have done it years ago.
  12. As I watch that video again I get teary. She seems driven by and embodiment of the music. What was the occasion of her dancing with Charles Askegard? The height differential is so noticeable that I wondered if one or the the other was a last minute substitution. To whoever video'd it - apparently from the audience?? - thanks!!
  13. This is so hard to predict but I don't see King as promotable. She's been a long time favorite of mine for her glorious stage presence and lovely presentation but as a soloist her technical limitations have been more obvious. She hasn't been cast in many principal roles and I don't see anyone being promoted before success in at least a few principal roles.
  14. Just back from Taming. So glad I did not purchase tickets for additional performances. While not the worst ballet I've ever seen, it certainly makes the worst 10 list. The most exciting part of the evening was a fire alarm that went off during Act I, and kept beeping for a good 10 minutes. What a fiasco. Very simplistic and boring choreography. The best part was a pdd for Smirnova and Chudin in Act II. Question: The website says this production is 2 hrs, 5 min., including intermission. In actuality, it started at 7:30 and ended at 9:20, including the intermission. Did they cut a portion of the ballet for the NY engagement?
  15. SFB: "Thanks for watching Unbound LIVE. Now you’ve seen the rehearsals, we want you to see these ballets in performance next spring. How different will these ballets look once rehearsals are done, costumes are designed, and the dancers are onstage under the spotlights next spring? Find out. Unbound LIVE viewers get 30% off any Unbound performance, when you purchase by July 31, 2017.* Choose your performance dates and enter promo code UNBOUNDLIVE. We’ll divide the 12 ballets into four programs later this fall. So while you may or may not see the same three ballets you watched in this Unbound LIVE broadcast, you will see three world premieres on every program." This first rehearsal video will be available for 60 days, or so we were told by host Jennifer Kovacevich. Looks like the video is available on the SFB Facebook page but users will need to skip over quite a bit of dead space at the beginning to get to the action (currently 14:00 though this may be edited out in the future). And for just the video without all the extra Facebook blather: And on the SFB website: Overall, a nice teaser. Although I'm much more interested in the work of certain other choreographers, still to come. Liang's PDD for Yuan Yuan Tan and Vitor Luiz had some interesting bits, and a nice flow, though I imagine it was exhausting for Vitor to perform so many lifts. Always great to see those two dance. Arthur Pita's piece was, naturally, the more unusual looking with all the plant/feather props (and difficult to decipher at this stage). I assume the rehearsal pianist is Jamie Narushchen, but if anyone knows different please let us know.
  16. I just finished watching the first Unbound webcast. At the end, the host stated the entire program will be posted to the SFB website soon and will be available for 60 days. Of course, most people would like to know about the pieces. I will list the choreographer, music, and dancers rehearsing the piece. Stanton Welch - Music is two violin concertos by Bach. The section was for five men: Angelo Greco, Esteban Hernandez, Lonnie Weeks, Ben Freemantle, and (I think) Alexandre Cagnat. Edwaard LIang - A commissioned score by and English composer (don't remember the name). He only received the complete score the week before he started rehearsals. He rehearsed a PDD with Yuan Yuan Tan and Vitor Luiz. Arthur PIta - Recorded music by Bjork. He rehearsed a section with many dancers which transitioned into a solo by Maria Kochetkova. Each choreographer talked a bit about the section we would see, talk to the dancers, and then the dancers would start. Afterward, the choreographer gave some feedback, then answered some questions the host had from social media. I am most excited by Arthur Pita's piece. In the interview he really wanted to embrace the Unbound theme and has always admired Bjork. I think just like the piece he created this year (Salome), people will either love it or hate it. The next Unbound webcast will be on August 8th (per SFB comments on FB). I don't think they have stated who the choreographers will be.
  17. I remember that, BalletFan, and had the same thought at the time.
  18. Had Balanchine been alive in Ansanelli's time, she surely would have been his muse. I ache to see her dance again.
  19. Yesterday
  20. I had my doubts Renata Shakirova could pull off a good Kitri, but she was full of life and energy all night long and performed the Dudinskaya variation in the dream scene. It looks really hard to do the alternating pique turns in a diagonal in this variation but she did them well. Her fouettes were great with many doubles. At the very end of the night after Basilio holds her in a balance on one leg, and she quickly kneels as he stands her back leg slipped but she saved the tiny mishap by switching very quickly into a move like when Odette folds into the floor. That shows professionalism to think on your feet and turn a mistake/mishap into a moment to do something else that works! The audience genuinely loved her, and she did give a great performance. Maybe not as good as Batoeva last night but still very good! Vladimir Shklyarov danced as if he wanted to prove his worth at the Mariinsky. He looked in better shape than I have ever seen him, and he gave his all in every scene. In Act 1 when Basilio lifts Kitri twice by the knuckles and lifts her in the air and sets her down, Shklyarov lifted her higher than I have ever seen anyone lift Kitri in that moment. It was amazing! Later he held her forever in the one handed lifts. I never thought Roman Belyakov was anything special until I saw him tonight. He was a great Espada and looks very tall. He might be able to replace Korsuntsev and Ivanchenko when they retire as the tall males who are able to partner tall ballerinas. Nika Tskhvitaria was a complete delight as the Street Dancer. Loved her personality and high attitudes! The big surprise of the evening for me was Oleg Demchenko as the Gypsy! All I can say is, "Wow!!!!" His jumps, energy, and acrobatics made this small role seem important. He turned a small role into a star turn! I never saw a more exciting Gypsy man than Demchenko! I liked Ekaterina Chebykina as Queen of the Dryads better than I did last night when she danced the Street Dancer. The crowd loved her too. I think her fingers and arms are sometimes wild and uncontrolled but she was on better behavior tonight although I saw some splayed fingers. Overall, I really thought Shakirova was more like a soubrette who didn't have a sassy Kitri in her, but she did. Pleasantly surprised and enjoyed seeing the Dudinskaya variation in person!
  21. I was talking about my impression of Maillot's work, where he takes many liberties with the Shakespearean plot and characters, and I think the subjugation bit is really downplayed here. I get a sense that even though Katherine may appear to submit to some of Petruchio's whims (like the imaginary fire), she does so with such obvious condescension and sarcasm, that it is really she who is "taming" him. So, keeping Shakespeare's original title of the play may be a mockery in itself. Maillot himself said in his interviews that he wanted to move the play away from the "macho" thing and make it more about two extraordinary people meeting and falling in love with each other. And I think everyone who surrounds Katherine while she is at her father's home is shown as having some reprehensible trait, Maillot takes his time in exploring every character.
  22. Wow!!!!!! This blew me away! She was amazing. Thank you for posting this, I've never seen her dance before.
  23. Tim Page reviews new books on Cliburn here. The Isacoff book sounds really good.
  24. Reminder from SFB that today there will be live video on their Facebook page: "Curious what goes on behind the scenes during our rehearsals? Today we're offering special insider access with a peek inside Unbound rehearsals with choreographers Stanton Welch, @edwaardliang, and @arthurpita. Tune in on our Facebook page at 5:30 pm PST for Unbound LIVE!" #Unbound2018
  25. Fine bit o' re-framing by Ms. Morr to get us back where we started. It's still a lot of trouble for La Scala to go through to be able to perform a single night as the current Teatro alla Scala Ballet. Yes, Bolle originally came from La Scala, so the audience supposedly sees some of that training in Bolle, but it still looks like the performances are a star vehicle for Bolle (who has been a 'gypsy' performer for some years now). It's not the best way of showing off the company as it stands. A better option would be an arrangement where Teatro alla Scala performs for a week during another company's season, as one of the programs of the host company (in the same way that Hamburg Ballet and National Ballet of Canada have done/will do in San Francisco). Supposedly the Misty Copeland performance is sold out, so that much is working.
  26. Pollack was definitely in the running, but she will be taking a leave of absence in 2018 to work on Broadway in Carousel. I think under those circumstances it is not likely that she would be in contention for a promotion during the 2017-18 season.
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