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its the mom

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    Avid balletgoer
  • City**
    Philly
  • State (US only)**, Country (Outside US only)**
    Pa

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  1. It's a gorgeous piece. I saw ENB perform it at the Royal Opera House for the MacMillan Celebration back in 2017, I believe. It is one of the most moving pieces I have seen. For those in San Francisco, it's not to be missed.
  2. Boston Ballet opened their season last night with four works. I will write more later, but was absolutely gutted by Akram Khan’s Vertical Road. I cannot stop thinking about it. I felt as though my heart was going to beat outside of my body. The house/audience erupted like I have never seen before at any performance anywhere. It was a piece of work that everyone seated around me said they did not want to end. Moving, heart-rending … not enough adjectives to describe it. If you can, get there.
  3. I know that others have talked about this before (and in light of the dancers mentioned above), but do you think it would benefit the company and the dancers to add one more rank, i.e., second soloist?
  4. Whiteside was hired September 2012 and promoted to principal in October 2013. Cirio was hired as a soloist for September 2015 and was promoted at the end of June 2016 when Hoven was promoted to soloist. So, there are exceptions to that June/July promotion time.
  5. I just saw this. They have five Kitris. Ji Young Chae, Lia Cirio, Vika Kapitonova, Chyrstyn Fentroy and Chisako Oga.
  6. Did anyone attend last night’s opening of Boston’s ChoreograpHER program? Five female choreographers, three of them women of color … I can’t wait to get there next week. Anxious to hear about it. Choreographers included Lia Cirio, Shantell Martin, Tiler Peck, Claudia Schreier, and Melissa Toogood.
  7. I think the way this is worded makes it sound as though she commissioned 40 works by women, but I believe it is more accurate that there are 40 works choreographed by women in the repertoire of ENB. From "The Guardian:" "The acclaimed dancer – who has introduced groundbreaking works into the ENB’s repertoire, including more than 40 works choreographed by women – will step down in late 2022 to take up the role of artistic director at San Francisco Ballet, where her husband, Isaac Hernández, was recently appointed a principal dancer." I am trying to verify this. Maybe someone more familiar with the company can, but 40 seems a pretty high number for her tenure. Also, somewhere earlier in this thread, it spoke of her saying she never "poached" dancers, I believe there were several she invited as "guest artists" and they ended up joining the company. I am sure there are others, but those that come to mind are Jurgita Dronina, Jeffrey Cirio, Gabriele Frola, and Emma Hawes.
  8. I think it was a joyous occasion to be back on stage this fall and for Nutcracker. I, for one, was so excited to be back in the theatre! It appears that Boston finished their run of Nutcracker unscathed. Many companies have not. https://www.washingtonpost.com/business/interactive/2021/economy-2021/?fbclid=IwAR1IsNoDs_rkucNE5Tsqy0ZU5SIUbo-IuLbIZwIIy_z-YFUtyfpGGgs9WqI
  9. Very happy for Chyrstyn. But I have to say that Boston has always been at the forefront of hiring persons of color. While there has not been a black principal since Tai Jimenez, there are other minority principals, as well as a healthy number of minority dancers through all of the ranks. https://www.bostonballet.org/Home/The-Company/Dancers/FullCompany.aspx
  10. This certainly was a trip down memory lane. Plan to B is iconic Elo, and while it was enjoyable, my favorite iteration of this ballet was performed by Sabi Varga, John Lam, Whitney Jensen, Lia Cirio, Jeffrey Cirio, and Bo Busby. They were, for a long time, the cast to see in the many places this ballet was performed. Their performances were electric. But, I digress. There was much to see here, including Elo's Bach Cello Suites and Close to Chuck, two of my favorites. I hope we get to see Close to Chuck once again at some time in the future. Additionally, a portion of Elo Experience with Larissa Ponomarenko and Jeffrey Cirio brought back amazing memories. Performed in 2011, I remember that they performed every performance of that work. Along with Tchaikovsky's Piano Concerto No. 1, they were sublime. It was evident to me throughout that there were dancers who truly embodied Elo's work - James Whiteside, Sabi Varga, John Lam, Kathleen Breen-Combes, Whitney Jensen, and Jeffrey and Lia Cirio. I don't know if the current crop of dancers can match them. It will be interesting to see if they develop the "quirks" necessary for his work. The World Premiere was somewhat confusing. It appears to be an extension of the couple (Cirio and Ponomarenko) in Elo Experience, but the attempt to make the work an artistic film left me feeling confused. It will be hard to match the innocence of Cirio (who was probably all of 18 or 19 at the time) and the inestimable Ponomarenko in that work. All in all, I really enjoyed this program which contained much more dancing than previous digital performances. It made me long to be back in the theatre again. Congratulations to Jorma Elo and Boston Ballet for 15 years of collaboration!
  11. Season starts tonight! https://www.bostonballet.org/Home/Tickets-Performances/Subscription-Information/Virtual-Subscriptions
  12. David Hallberg just announced his new Directorship at Australian Ballet on his Instagram!
  13. I just looked at my program, and you are right, Amy. The casting in the program was all mixed up.
  14. Funny, Agon was probably best received as a whole that first evening. I think the blonde was Dawn Atkins the second evening, but I do believe that the casting for Agon was correct in the program. I could be wrong. The two men in the pas de trois are probably a little more inexperienced, hence the toss not quite as successful as the previous night. You are so right about the movement quality in Agon - that’s a great way to put it. “Not punched or muddled.” On another note, I am sad that PA ballet has changed rather drastically. I know there are those who prefer it now, but I miss the days of gorgeous Balanchine work without having to drive to NYC.
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