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About Drew

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
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  1. When, I wonder, did d'Amboise ask that question... I only saw Kent a couple of times, but remember her as always haunting, magical, distinctive...whatever the role. A very special ballerina.
  2. I greatly prefer TBA if they have decided that they don't know who is dancing. There are sometimes last minute cast changes at ABT, but it's always more irritating when one feels one has been misled--and in some cases misled into spending a lot of money--than when it's more or less unavoidable (injuries etc.).
  3. Apparently it wasn't possible to "do both" (that is, run their old school and the Pennsylvania Ballet school): http://www.philly.com/philly/entertainment/arts/More-turnover-at-Pennsylvania-Ballet.html
  4. What a great opportunity for her and the company!
  5. Thanks for those writing about their reactions to LHH. I would race up to D.C. for multiple performances of either a full-length Paquita or Sleeping Beauty. I own I'm curious about the Bronze Horseman, but still would probably most enjoy one of the grand nineteenth-century spectacles.
  6. To me, this feels rather a devastating loss. A great Bolshoi ballerina . . .
  7. I'm rather stricken by this news. She is a wonderful Bolshoi ballerina and very recent youtube video decidedly gives the impression of a ballerina still giving top tier, not to say extraordinary performances. (And looking more recovered from her achilles heel injury than she did when the company was in NY a couple of years ago). I don't know what it costs her to dance like that of course! I wonder if there is a final or 'farewell' performance scheduled...the translated statement makes it sound as if she is done. The ballerina/ballerino role she created in Ratmansky's Bright Stream alone gives her a place in Bolshoi ballet history I should think! I hope great things await her.
  8. Both times I saw Kent -- well before the end of her career -- she did what I recall as 27/28 fouettes with somewhat uncontrolled traveling towards the end of the sequence (one reason she cut it short I assume). Kowroski at NYCB did not do the fouettes at all when I saw her, shortly after the company first premiered the Martins version, and she was in very many ways a beautiful and striking Odette and Odile. NYCB has a different relation to 19th-century classics than ABT, but Kowroski's Swan Queen is one I am very glad not to have missed.
  9. Definitely--I felt this way about at least one other Bolshoi broadcast as well. The color was dark and dull -- and I see much better and brighter quality on youtube all the time (including seemingly "unofficial" video). Very disappointing--especially since otherwise I really look forward to these broadcasts. I prefer it to NO broadcasts, but wish the distributor or the Bolshoi would look into it...
  10. What sad news. When the Ballet Nacional de Cuba came to D.C. -- I think for the first time -- she was a huge favorite with many of us. I remember especially loving her Swanilda; my memories of Blood Wedding unfortunately are vaguer, but I know I admired her hugely in any and every role I got to see her dance. I also have a memory-image of some extraordinarily centered turns that would certainly compete with any of today's master 'turners.' A wonderful ballerina--may she rest in peace.
  11. Thank you. Any word on what Smekalov's approach to the first two acts of Paquita will be? Recreation in the spirit of...? Elements of reconstruction? I assume they would not have chosen him for a purist reconstruction such as Ratmansky's -- but I am wondering if that means Lacotte style hommage or something in between....
  12. Thanks. Naghdi made an excellent impression on me when the Royal was in NY last time, though unfortunately I only got to see her featured in Mcgregor.
  13. It's always great to read about the company. Even the Royal Ballet broadcasts don't come to my home town!
  14. The Bolshoi seems to be developing her--that is giving her a lot of opportunities--so people more important and influential than other fans think you are right . By all accounts that I read last summer, the Kitri in London was not a success, and I myself did not care for her diamond fairy in the Bolshoi's Sleeping Beauty broadcast -- but she is still growing as a dancer and artist. I'm glad to read how much you enjoyed her Sylphide. I did enjoy some of the Sylphide video, but live performances remain the best way to judge.
  15. The festival sounds like it could be very fun--I hope it features some fantastic new works. I do care about the development and support of women choreographers (especially in a ballet idiom) though I am sure there are mind-boggling variables when you are putting together a festival. From where I sit, I only get a narrow view of the larger ballet/dance world myself...but thought I would throw another name in the mix of women choreographers who have worked with ballet companies: Helen Pickett. She is more 'contemporary' than classical (as are a number of those mentioned above and being included in the festival) but has done a number of works for Atlanta Ballet set on pointe. The one I saw I liked at least as well--even rather better--than the work I've seen by a couple of the choreographers mentioned above. Atlanta Ballet has long regularly featured women choreographers in its repertory (admittedly not always the most classically based repertory in the world), including their own ballerina/choreographer Tara Lee -- and this year will be premiering a work by Gemma Bond.