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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. I would be surprised if she were not aware of the remarks/speculations that have been made about her withdrawals. Anyway, I think she might make a charming Princess Praline. The three I saw I liked very much (in alphabetical order: Brandt, Lane, and Trenary) especially the last two who had a magical "fairy" quality. Brandt seemed a little more down to earth--but they were all excellent.
  2. Putting box office worries aside for a moment: ABT could easily add an additional mixed program to the Met season. For myself I'd be happy with ABT performing Ashton more often too--they have three of his full-length ballets in their rep. I haven't seen them dance Cinderella but have seen excellent performances of the other two with multiple casts. I'm also not opposed to one or two guest artists from time to time. (Nothing in excess.) I do realize ABT does not have the luxury of putting box office worries aside. And...uh...there is an audience for things I don't much like..
  3. I feel much the same way about many of these mid-century 'literary' ballets as Cubanmiamiboy and others have expressed above--in particular works by Cranko and Macmillan. (For some reason Neumeier's Dame Aux Camelias works for me; I think I appreciate its greater self-consciousness.) In fact, though I hesitate to admit this, all skillful performances of the acrobatic style romantic pas de deux one sees in this genre start looking much the same to me--no matter who is dancing. An absolutely exceptional dance-actress can break through the film of hazy, romantic acrobatics, but it's a rare thing. Haydee was unforgettable. Still, just reading ballet-goers on this site, I can feel the excitement of those who DO respond to these ballets. They (the ballets) have earned a place in the repertory even if, for my taste, I could wish it were a smaller one.
  4. The comment to which you were responding was by Pherank...I thought the ballet was unpretentious and that, at least, I liked. It seems a little short for a full evening though.
  5. Thank you for posting Fritz Wunderlich. He is my favorite tenor. Every time I listen to him I can hardly believe how beautiful his voice is.
  6. Pushkin himself was killed in a duel when he was thirty-six.
  7. I very much enjoyed Le Rossignol and long regretted that it was never revived. But I had not thought about it for some time until reading this post. I also remember that a work colleague of mine at the time went with his partner to see this triple bill. His partner did not realize the Met had brought in guest artists for Le Rossignol. In the middle of it he turned to my colleague and whispered "These dancers are really good for the Metropolitan Opera House ballet..."
  8. I have decided to take a pass--money is a factor though in my case work is the major one. But I actually would very much like to see Taming of the Shrew especially when it's still being danced by its original cast, and I think the ballet fits with much of the Lincoln Center Festival ethos of presenting new and/or offbeat productions of classics etc. But except for the possibility of seeing Smirnova in Diamonds, I have little interest in the three-company Jewels--which I hardly think is going to produce any revelations. So, although I'm a little disappointed to be missing the Bolshoi and doubtless will be more so when I read everyone's reports--at any rate I'm not quite as disappointed as I might have been.
  9. I believe one has to watch this on MariinskyTv and I think the correct link is: https://mariinsky.tv/e (My youtube may have been wonky...but in any case the link above works.)
  10. I loved that production of Gounod Symphony (maybe with a caveat about the ballerina's costume). Now, especially as Farrell's company is shutting down, companies should be racing to obtain it for their rep. It is very rarely performed and, as Farrell herself has discussed, quite unusual in its handling of the corps de ballet. Another ballet revival Joffrey's Joffrey performed and that seems to have been entirely lost, is Tudor's Offenbach in the Underworld. If that were revivable....
  11. On my youtube it says 7pm GMT (+3 I have no idea what the +3 means) and then switches and says 12 p.m. I was assuming that last was a translation to my time zone which is Eastern Standard Time -- in which case 9 a.m. would be the west coast time. So perhaps watchable after all? But I'm not a master of the time zones. In any case, I hope they will archive it for at least a little while.
  12. Just a side note to this discussion: The Moscow competition not only requires competitors to present something more modern/contemporary, but specifically has a choreography competition for new work. It still isn't where I would look for the future of new choreography--in that I agree with Pherank. But I think it is a little unfair to give this particular competition as an example of nothing but 'tried and true choreography.' That's certainly where the dancers want to establish themselves--and why not? It's a competition. Do opera singers not want to show they can sing the mainstream repertory when they appear in competitions?--but as it happens this particular competition makes some effort to offer more than that. So far I have only watched one of the new pieces (by a choreographer from China), and it was not based in the ballet vocabulary. Indeed for many dancers and companies new work seems to mean just that--ditching ballet altogether. I'm more interested in seeing new ballets developed that are based in ballet's traditions and vocabulary. But I don't really expect there to be more than a handful of truly great ballet choreographers working at any one time and a slightly larger circle of interesting ones. From that perspective I am okay with different companies wanting to commission new works by the same top people. Certainly there needs to be a balance -- in all things.
  13. There will be a livestream of the premier of Ilya Zhivoi's The Seasons to music by Max Richter on June 19th. I posted it under "heads up" with more details--but shortly after found this thread.
  14. I did several searches but could not find an announcement on this site of the June 19th Mariinsky livestream of The Seasons--a two act ballet by Ilya Zhivoi to music by Max Richter based on Vivaldi (don't shoot the messenger). The spring/summer sections premiered during the White Nights Festival, but the 19th will be the premier of the whole ballet. I saw a bit of the White Nights performance on youtube and honestly I can't say choreography piqued my interest except as an opportunity to enjoy the Mariinsky dancers; The premier will feature Kondaurova and Roman Belyakov.) I think the livestream will be via the company's youtube channel, since they are featuring it there--but if someone knows otherwise please post the link:
  15. I also was bothered by Womack's shoe ribbons. But perhaps it was, as Vagansmom suggested, a quick fix for something that went wrong at the last minute... Many things about dance competitions confuse me too. But I am thinking perhaps the senior dancers (many of whom must be established professionals) think of the Moscow competition as a reputation builder that may open up opportunities for them. And Womack, in particular, may reasonably feel that doing well at this competition would give her a certain legitimacy with audiences that just remember the 'scandal' associated with her departure from the Bolshoi or who see her as a mere creature of her own social media. I'm also not sure what role the companies themselves play in encouraging their dancers to compete. Also perhaps not anyone's main motivation for entering but there are $200,000 worth of prizes being dispersed. http://moscowballetcompetition.com/en/news/prizes-and-awards-xiii-international-ballet-competition-and-the-contest-of-choreographers