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About lacdescygnes

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    Avid balletgoer
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  1. Justin Peck's Instagram mentions "17+ casualties and counting". I know injuries happen, but it seems higher than average. Not sure that the whole Here/Now festival was fully thought through if this is the outcome. And selfishly I don't get up to NYC until the 19th, so I hope there will still be dancers standing then!
  2. There are 2 possible options, and I haven't done serious research to see which is the true origin of the current version that the PoB dances today. Serge Lifar was of course with Les Ballets Russes before he joined the Paris Opera Ballet in 1929. Lifar's French Wikipedia page lists Le Spectre as one of his roles/ballets in 1931. I assume that this was still Fokine's choreography, or at least something very close to it. The other most recent source I have found is Nureyev - here is a link to a page about Nureyev and Le Spectre: I would assume that the version that he brought with him when he defected was the by then classic Soviet Liepa version. I didn't find a video, but he must have been astonishing in this role.
  3. I was at the performance on Monday. Due to my own rather mixed feelings about the programming, I opted for cheaper seats on the second tier rather than splurging for orchestra. And I skipped the rest of the week. I regretted my choice of seats twice during the show: first, Abrera and Gomes were predictably wonderful in Leaves are Fading. As is wont to happen when this beautiful piece is performed by great dancers, I found it too short! The second piece I wished I had had better seats for was Imprint/Maya, which was very powerful and moving. Desmond Richardson just filled the stage with his presence and was amazing, especially for a dancer who supposedly retired! The rest of the program was fine - I was pleasantly surprised by Nashville Ballet, whom I didn't expect to be as polished as they were, but their piece lasted too long I thought. The Peck PDD was pleasant enough, but I've already forgotten it. The piece for the JKO students was rather mediocre I thought. And the films were not bad, but it irked me to see them listed in the program as if they were actual performances. The theater was pretty full, and there were loud cheers when Misty Copeland appeared to introduce one of the pieces. I suppose that's a good thing! Did anyone go to another performance?
  4. I have seen two performances of Le Spectre de la Rose - Kimin Kim of the Mariinsky and Herman Cornejo of ABT. Kim's was my first live experience with that ballet, coming on the heels of having seen Nijinsky's original costume in the Ballets Russes exhibition that the National Gallery of Art held a few years ago. I found the piece beautiful. Of course after seeing Cornejo, who is bar none my favorite dancer at the moment, I could see all that was lacking in Kim's performance in terms of expression, height, etc. I never thought of Cornejo as androgynous, not in the way Nijinsky was anyway, but he is absolutely marvelous in the role. I hope ABT will let him dance it again soon!
  5. Hi everyone, I've finally taken the plunge after reading the forum for a long time! I'm based in Washington, DC although I go up to NYC often and see both NYCB and ABT regularly. I grew up in Paris so POB will forever have a special place in my heart - and I will always compare the other ballet's corps to POB's, which to me is the gold standard. What else? Like most kids, I took ballet for a few years, but was never good enough to consider any kind of advance training. I still take the occasional class as an adult though. I'm looking forward to participating in the discussions!