Birdsall

Okay, I will. It is actually students from La Scala’a Academy who have been working with La Scala to learn and perfect their abilities.

It is magical when there are shades on all four ramps! I had seen it on video many times, but in person it was so gorgeous! That’s one thing Grigorovich changed that I love!!!

I just returned from the Bolshoi’s Opening Night of its Milan tour. I am only here for the 3 Bayaderes and a rare Cherubini opera Ali Baba. Svetlana Zakharova gets a lot of heat on BA for high extensions, but she is almost always reliable in giving a good performance at an international level. Tonight she had some trouble ending her turns with the scarf with the second one almost looking like a stumble, but for the most part this was a good performance overall. The slight technical mishaps (some wobbling on the arabesques that are almost penchees during the duet with Solor) were countered with a much more dramatic conviction than she is known for...I also liked her lyrical arms....I am probably the minority here on BA but I think this is a world class ballerina who has become a much better actress. She’s not my favorite ballerina by a long shot but I feel she deserves respect. Denis Rodkin was very “on” tonight, and the Milanese loved him showering him with cries of bravo. I like his artistic arms also. Several years ago I saw him as Onegin at the Bolshoi Theatre, but he seemed too young to pull off Onegin’s personality. Tonight as Solor he showed he has grown into a great artist. Olga Marchenkova was Gamzatti, and in the past I thought she had very stiff arms. They were much better tonight. And she’s a beauty! My favorite thing about the Bolshoi’s Bayadere are the 4 ramps that the poor Shades have to descend. It is breathtaking to see that many rows of shades making their way down the mountains! Gorgeous! Cries of “Bravi!” filled the auditorium at curtain calls. The Italian man in front of me seemed to be schooling his friend on “bravo” versus “brava” versus “bravi”..... Late and tired....tomorrow will be Smirnova....

I agree it is not a fan board and anyone is obviously welcome to post, but we all know there are fans on each dancers' threads. It is the way of the world. There definitely are people who repeatedly slag a dancer. It is more helpful when someone states specific reasons for their like or dislike, and some do.

I agree with this. Liking artists is always subjective. We can say what we like or dislike and back up our opinion with specific things we witnessed. On opera message boards people still debate Callas vs. Tebaldi as you say. There are opera fans who are very knowledgeable who I respect who love Sondra Radvanovsky. Personally, my jaw drops to the floor when I read them say that she is a great Norma. I personally hear an unbelievably undisciplined singer who can not sing coloratura passages to save her life, and I consider her acting bizarre. I hear nothing beautiful in her sound either. However, my shock at what seems to be many knowledgeable opera fans loving a singer that makes me shake my head does not mean I am right and they are wrong or they are right and I am wrong. We simply hear differently. Last season I thought Angela Meade did a credible and "decent" job as Norma at the Met, but many found her horrific, especially her vibrato. Maria Callas was one of the most amazing dramatic singers. She changed opera forever, but many just hear her wobbly high notes. There are 20 year olds who have discovered Callas and worship her. There are some who simply hear squally singing. I personally have never understood what everyone hears in Birgit Nilsson's voice. I am sure it was different in the house, but something about her sharp singing did nothing for me. Her many, many fans are not wrong. I am not wrong. Her voice is not for me. There is no absolute. Every singer and dancer can be picked to death about deficiencies. All great artists have flaws. The fact that so many jump to complain about Yulia Stepanova on her thread (a thread that is going to be full of her fans) is, in my own personal opinion, an indication that she is a great artist. Boring artists never have wildly dissenting opinions. They simply do not evoke many feelings one way or another.......I also am curious b/c I do not follow singer threads that I have no interest in.......sort of like if I went to a football game and started yelling, "Football is dumb!" I mean, I think there should be freedom of speech and differing opinions, but I find it odd. But we are each different and people can spend their time yelling, "Football is dumb!" at football games if they have time and energy to do so.

Laurent, I agree. Near the end of the white adagio where she bourees away from Siegfried (and he follows her and helps move her in both directions....holds her waist and helps her turn right and left) she seemed like she was experiencing the most profound love of all. Then, when she entered during the final act she melted like she was weak and frail right before doing the high attitudes on each side by each line of swans. At the end as they embrace and she did the low arabesque with his arms around her it was not just happiness but relief. It was the first time I "got" the final act and how beautiful it can be. I have seen many Swan Lakes and that one will stay burned in my memory.

It is too bad that Logan Learned left Sarasota Ballet , or you would have seen something great in Patineurs (I think he left to pursue studies in something besides ballet). The company said, "Goodbye" to him by inserting Tarantella into a program last year. He will probably be the best Blue Boy from Les Patineurs that I will ever see in my lifetime. He was fabulous in everything he did. Unfortunately, he was petite so he was limited in the roles he could take on, but the roles he did take on......he owned them.....

Just so you know there are websites like "a view from my seat" where people have posted views from their actual seat in various theaters. Not every single seat is shown, but you can find views from seats that are in a similar section. This might help for future reference. It is something that someone at a box office can't show you. I don't live in NYC so for me buying online for me personally is wonderful, and I buy online locally also for tickets here in Florida. No line, no waiting, very fast, sometimes you can actually get a seat view, but not always. You can buy tickets wherever you are or whatever you are doing. Tickets went on sale at 12pm for NYCB yesterday and at 11:45am even knowing tickets were about to go on sale I took my dog on a walk here in Florida and when it hit 12pm I bought the tickets on my phone as I was enjoying the walk. I remember years ago having to wait at the computer for tickets to go on sale and sometimes the site would not work well and you would watch the seats you wanted get bought up before your eyes as you are trying to make a choice. Or before online sales having to call just as tickets went on sale and that was a nightmare. There was so much stress involved in trying to get a good seat asap before the good seats were gone. I even took a day off work in the past to make sure I could get good seats to all the operas I wanted. For me regular ticket buying was SO stressful. Online buying has taken all the stress out of it for me. I think it took me like less than 3 minutes to choose and buy my NYCB tickets yesterday once I logged onto the site on my phone.

Just to play Devil's Advocate......I suspect the majority of ticket buyers (I could be wrong) purchase online (so convenient), b/c you can choose the exact seat you want from home or even your phone the minute tickets go on sale. If you choose "Choose your seat" option rather than "best available" you get a seating chart and are able to choose the exact seat you want. I love this about most online purchasing. When I purchased tickets for Nov. 2 and 3 for these performances it was easy. I can't remember if City Center allowed me to see the view from the seat I selected, but some company sites have that option as well. I hated buying tickets before the whole "choose your own seat" option became widespread. You basically had to have the seating chart open on your computer as you talked to the person on the phone. Today single tickets for NYCB went on sale and I was walking my dog and purchased my tickets online on my phone. I personally LOVE the convenience of online purchasing. They probably do not need to charge a fee. It is probably way easier for them just as it is for us, so the fee charge is ridiculous, but I am okay with it for the convenience. Years ago I could not walk my dog and purchase opera and ballet tickets.

Shouldn't two principal openings come up (or 3 if Makhalina finally retires)? Lopatkina announced her official retirement but continues to be listed on the Mariinsky website as a principal. Now Pavlenko has retired officially. So that gives room for 2 new principals.

I am not sure if I can find it. It was an email notification for Dance Spirit which I do not subscribe to, but had a link, and I clicked and read the short article. I think after reading it and mentioning it on here I deleted the email. If I can find it, I will post it.

I agree. Her Swan Lake at the Mariinsky (before she moved to the Bolshoi) opened my eyes to how touching and exciting the final act can be. And during the white swan pdd near the end as she bourees toward the center away from him she broke your heart with the longing gaze that fit the music. Her Firebird was also incredible for its musicality.....the way she removes her arms from Ivan's embrace, the way she commands the stage as the monsters are running amok, etc. I don't understand why there is so much animosity toward her on BA.

I am a Generation Xer and I never trusted faxes either. Faxing is so retro. WTH is wrong with NYCB??????? I didn't think anyone faxed anything anymore! Seems like a ticketing system that would happen in a third world country! Although we do seem to be sliding into the third world now!

There is another up and coming transgender ballerina Jay Ledford according to Dance Spirit magazine.

A friend also mentioned that Simkin did that, and I totally missed it just like Imspear. I remember Simkin getting the crown and I guess I just thought it was over and was looking at all the various characters, because I totally missed the bowl of whipped cream at the end. Or maybe I was in sugar shock and in a coma......

LOL I love your questions! Maybe Ratmansky could do a Whipped Cream 2 (like a horror film sequel) and it could depict the End of the World (cannibalism)......Mark Ryden would have a field day! LOL Maybe this ballet does have something to say afterall.....we are living in a time of decadence and excess and it can come to nothing good, but we will enjoy it all while it lasts!

Nanushka, I am speaking in general, not to one particular posting or comment, so hope I am not making you feel defensive (you don't sound it and probably just adding the conversation but just making it clear). I wasn't responding specifically to your post, but you are right. The Ryden designs definitely appeal to all ages and all types. Art can appeal to all types. I have a painting by the tattoo artist Pooch hanging in my dining room (of all places), and that seems totally out of character for someone like me (51 year old librarian with zero tattoos who still wears a sport coat to every ballet or opera), but I have a soft spot for alternative art, etc. I was just saying that I can picture the art loving "punk" types (not really sure what the new term would be) loving the artwork of Whipped Cream. Others like me can enjoy and like it as well. However, for me personally, it is the opposite of "imperial"........it is leaning more toward avant garde, so I think Canbelto's comparison to the Ballets Russes is more like how I would compare it. I don't have children but wonder if some moments would actually scare children (the big eye that blinks, for example, or the huge syringes that the nurses dance with). The children near me didn't seem to flinch or be bothered (the one behind me fell asleep), and the age old Grimm's Fairytales are actually very gruesome also if you read the originals. So maybe it doesn't scare children. Just wondering. I love the intent......current biggest choreographer of today's ballet world joins with a contemporary artist to create a new ballet that is fun for children (something needed to build young audiences).......I just don't think the finished product achieves what it sets out to do, but that is my opinion, and it sounds like plenty of people (including children like it). I liked Ratmansky's Fairy's Kiss much better in which it told the plight of the artist often choosing art over his own love or life.......for me it was touching and showed the anguish of the artist. Whipped Cream, in stark contrast, has nothing to say except you get a belly ache from too many sweets, but go ahead and eat them anyway and you'll be happy. I mean, what is the point? For me personally the artwork (sets and costumes) had a lot more substance than the story. It is like if you open up a children's picture book, and the paintings for each page are amazing and thought-provoking, but the story is just "meh" or simply lousy. It is very disappointing. Ratmansky's choreography is nice, but compared to other works he has done it doesn't seem very inventive or exciting to me. So for me even the choreography (nothing bad) is nothing to rave about. I actually enjoy his Humpbacked Horse (and Fairy's Kiss as I mentioned). It is almost as if Ratmansky intended this as a private joke and told a close friend, "I am going to create a totally superficial work but cover it up with lots of fluff and see if people eat it up and don't realize what a complete piece of fluff it is!".......sort of like he was just looking for a big paycheck so he could have more time to think up and do his more inventive work later.

I actually loved the sets and costumes and processsions (least boring part of Whipped Cream). I flew up to see The Boys in the Band and Carousel and added Whipped Cream as an after thought. I mainly went for the artwork and enjoyed the art. However, even watered down, sweeter Mark Ryden still had a definite progressive edge to it. I think millennials with nose rings, tattoos, and purple hair would love the sets and costumes. I have always been friends with progressives so I am not making fun of them, btw. However, that is the main reason I find it a little strange to view the sets as Imperial Russian in style. I view them as cutesy punk rock! LOL

Canbelto, thanks for the big laugh! I personally need some sort of story. For me that is the biggest problem I had with Whipped Cream. All fluff and no substance. I guess that’s fitting for a ballet called Whipped Cream, but I think Imperial ballets had more substance. The music was another problem (like a lullaby that lulls us to sleep). The little girl behind me fell asleep. It just isn’t an exciting score. La Traviata is also filled with waltzes but somehow excites over and over. I did enjoy Mark Ryden’s ironic/alternative/creepy artwork (sets and costumes) as “art” but didn’t feel like I was watching Imperial splendor....more like something progressive millennials with purple hair and tattoos would enjoy.

Cobweb, I was there too and agree 100%....the lack of substance (although I guess Whipped Cream would be a fluff piece simply knowing the name) and the surprisingly boring Strauss music (no climaxes) made for a boring afternoon. The wonderful dancers can’t save it. Mark Ryden’s sets and costumes (surreal and sort of creepy) are the main reason I decided to see it.

It is crazy to watch "Triump of the Will" and be both repelled and amazed at the same time. Not just her craftmanship, but how she somehow evoked a feeling of beauty and goodness (for an evil cause). I think film students will study her work for centuries. I basically can love the artist but hate the human being......however, not sure if I could ever love an artist who helps create mythology around a current world leader......that's where I draw the line! LOL That would hit too close to home and that film director would become persona non grata immediately!

Wagner is, indeed, one of the biggies of the "Can I love the art of a horrible human being" controversy. I totally understand why some would be repelled by his music mainly because of his personality and possible stereotypes. However, I have heard arguments for and against whether his music actually depicted racism. His writings and the actual libretto can be interpreted that way, but it is still up in the air if his actual music can indicate racism. It is sad that someone could create a work like Parsifal in which "compassion" is one of the most important themes and Christianity mixed with lots of Buddhism is apparent throughout the opera. The opera still inspires people today. It just goes to show you that it is a complicated issue. It is tough. When we love the art that someone creates we want to like the human being as well. I think that is probably something innate in us humans. However, it is obvious that sometimes we have to choose to divorce the two (artist and human being). Leni Reifenstahl is the famous director of "Triumph of the Will"......a propaganda film that helped create the mythology around Hitler.....I believe almost all film students study her work, because in many ways her artistry was amazing in that she created a feeling and emotion (not to mention camera angles and shading) that was close to genius if you can divorce it from its actual purpose (which was HORRIFYING). I saw a documentary years ago in which she was shown to have spent her later life photographing Africans and trying to overcome her label as a racist, but then she was asked certain pointed questions about her Nazi past, and she literally lost it....she stood up and walked torward the interviewer and got VERY defensive and you saw she was in denial about her role in Hitler's Germany. So art and the artist as a human, often very flawed human.....is very heart wrenching stuff........it reminds us that life is very complicated and sometimes we feel very uneasy liking an artist who we think is not a very good human being.

I like Gomes as a dancer and hope he didn't do anything horrendous, because I think we like to like the performers we like. We like to like them as people as well as artists. However, I absolutely love Wagner's operas, but I doubt if I would like him as a human being at all judging from his own writings and accounts of his personality (he did make Nazis feel free to embrace his work afterall). So we can like the artist and hate the human being. In the case of Gomes we can only guess what really happened. There are always a lot of private conversations going on with rumors from supposed very reliable sources in cases like this.......but in the end they are guesses or gossip. I am not sure ABT is the "bad guy"......no ballet company is going to force the resignation of a beloved star who audiences love without weighing what is best for the company. Since we do not have definitive information we can not be judge and jury of ABT as a company or judge and jury of Marcelo Gomes. I actually think that was sort of Iain Webb's point in defending his hiring of Gomes as guest artist. Everyone involved (ABT, Gomes, the accuser) apparently wanted it hushed as quickly as possible. We may never know the exact true story, so we actually can't paint anybody as the villain without knowing all the details.

Previous comment to Cargill: Yes! Thanks for the correction! I did mean Apparitions. And concerning “due process”: My gut feeling is that Webb threw that comment out to mean he’s not judge and jury. He’s not going to “not hire” someone simply due to unsubstantiated issues. I think all he probably meant was that he’s not going to assume Gomes is in the wrong without hardcore evidence. And apparently everyone is hushing. The resignation at ABT ended the issue in the news. We may never know what exactly happened, but I personally can’t imagine ever resigning from a job if I were innocent. I would let them fire me and then sue, but each person is different. I do like Gomes as a dancer.

In the past Sarasota has always had two casts for each program. Usually a guest artist or the best (maybe "favorite") local artists dance Friday night and Saturday night and there is usually a totally different cast for the Saturday matinee. I only mention this because it is highly likely Gomes will only dance at the Friday and Saturday night performances. Of course, I don't know how difficult Illuminations is. There is a chance if it is not taxing he could dance all performances of that.