sandik

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Everything posted by sandik

  1. The Washington Post has an interesting article on the increasing use of performing artists as programmers at the Kennedy Center -- most of the examples from from their music programming (the author is a music critic) but the basic ideas apply across the boards, I think. On the one hand, artists are at the core of the art form -- they know what's happening in the studio. But are they the best choice for a programming job?
  2. Excellent --- many thanks for the heads-up and the link!
  3. I'm really looking forward to this program!
  4. We are indeed careless with our history -- it's a major frustration for many people. I'm curious about Molnar's Carmina -- another score that seems to have been used by several different choreographers.
  5. The silly ones we leave alone!
  6. I'm the slow girl today, so I just realized that both Jewels and Onegin are 50 years old this year. They're getting the kind of revival attention that classics should get (multiple companies, new designs, performance "gimmicks"), and so I thought that perhaps we could have a little compare and contrast discussion here. Let's start out with our own experiences -- which of these ballets have you seen, who have you seen in them, and what do they mean to you? I'll be back later.
  7. As I understand it, they were all in each other's pockets at one point. There's an article in a recent Ballet Review, I think by Peter Wright, talking about his career, with a photo of he and Cranko at Macmillian in the 1950s -- they were all quite good looking and so very young.
  8. I remember the Ballerina series (it's around here somewhere, on VHS!) -- I'll have to look it out and rewatch. I saw the Stuttgart company in R&J in the 1990s, and remember it as a very polished production -- like the Macmillian in its evocation of period, but musically less insistent. It also looked to be a production that gave its main dancers plenty of opportunity for characterization, which is something that seems to be true of Onegin, from what I've read. Does this feel true to those here who know Onegin well?
  9. What a history you have with this ballet -- thanks so much for sharing it here! I only know Haydee from film, and though she was astonishing there, I envy you your "live" experience.
  10. I hadn't even thought about that, but yes, a lot of matching grants have a longer window than the current fiscal year.
  11. Thanks so much for the clarification -- I don't see Cranko very often, and don't feel very well informed about the work. Did he make a habit of revising ballets, or was this an unusual step for him?
  12. David Lang score!
  13. Well, this is odd -- the downloadable spreadsheet has the same cast for the entire opening weekend, but the website lists big changes (including three separate casts for Opus 19 and La Source) I'm hoping for the variety, otherwise I won't get to see Wald or Griffiths in the Robbins...
  14. And charming is an excellent description -- he was extra smooth, no matter the character. I loved The Saint (and its spiritual descendant, The Avengers), and thoroughly enjoyed his Bond.
  15. I hadn't really thought about it, but you've put your finger on something here -- I started a thread over here, so we can do a little talking about it.
  16. There's something about the arms as they push side to side (around :30) that looks like Moore. That and his arabesque line.
  17. That rhetorical device (commenting on the audience) is one way to get into a discussion of the work but it's only one way. She likely has a more generous word count for an online review, but unless she's working that material into the guts of the review, it takes up space that you could use discussing the actual works.
  18. This is the basic argument about symphony pop concerts.
  19. I'm not aware of a specific study right now -- my "evidence" is anecdotal, and mostly from conversations with press agents and marketing people. This kind of outreach is generally part of a larger, long term plan with specific marketing and programming. Part of the goal is usually to increase public recognition of the company (venue) -- there is evidence that bringing a cohort into a venue creates a more positive image of the venue.
  20. Are you sure that's Loch? He looks like James Moore to me.
  21. It seems to be back online, but this is disheartening news nonetheless.
  22. Ho, ho, ho -- happy holidays!
  23. The short answer is that some work label "pop" is capable of inspiring and supporting deep analysis, while some work that would seem to be in the "high art" box is considerably more shallow. So perhaps what you're really asking for is a venue that supports the complex stuff, whatever the label. And yes, apparently the hip hop crowd does buy tickets to Ailey.