Jump to content

volcanohunter

Senior Member
  • Content count

    3,567
  • Joined

  • Last visited

Everything posted by volcanohunter

  1. I think it's been clear for some time that Lunkina would not be returning to the Bolshoi. Makhar Vaziev doesn't seem interested in many of the dancers on the company's roster, let alone the "formers." However, both Canada and Russia allow for dual citizenship. Traveling the world on a Canadian passport is certainly easier, but Lunkina can still use her Russian passport to travel to countries Canadians need visas to visit, such as Brazil, Cuba, Vietnam and, of course, Russia.
  2. Yulia Stepanova

    The Bolshoi's Board of Trustees are rich people, i.e., oligarchs, bankers, industrialists. The theater's site says so: "Among its members are leading representatives of Russian business circles...The Board’s priority tasks are to attract sources of finance from the private sector, assist the Bolshoi Theatre in the presentation of new productions, the organization of tours, the recruitment of stars and talented young soloists, and likewise to provide assistance in improving the Theatre's systems of management, finance and the day-to-day running of the Theatre." As in the case of the boards of large arts organizations in the North America, its members pay to be on it. You can find its membership on the Russian side of the site: http://www.bolshoi.ru/partners/sovet/ When it comes to deciding who gets a special stipend for the year, I would bet that they rubber-stamp any names submitted to them by the theater.
  3. ABT 2017 Met season

    And musicality! (Thank you for that, Mr. Balanchine.)
  4. I am very glad to hear it, since there are likely to be other screenings in the U.S. Hopefully the ROH site will be updated sooner rather than later.
  5. At the moment I don't think there is any ROH content scheduled to screen in any U.S. cinema, which doesn't mean that the company isn't trying to find distribution. It's just that the theater doesn't seem to be very good at keeping distributors, and there aren't that many of them. It wouldn't hurt to write to the ROH to ask when the screenings will appear. They will respond, even if you only get a pat answer along the lines of "we are always adding new cinemas, so keep an eye out..." Seriously, chime in at the comments section at the bottom. http://www.roh.org.uk/news/royal-opera-house-live-cinema-season-201718
  6. Here is the archived version of a public rehearsal of Wheeldon's Alice's Adventures in Wonderland that was streamed live today from the Royal Opera House. It includes Christopher Saunders rehearsing Beatriz Stix-Brunell and James Hay in a pas de deux, and Calvin Richardson and Joseph Sissens as the Mad Hatter. At the moment the presentation begins at about 15:30 into the video, but I wouldn't be surprised if that were edited soon.
  7. Biopic of Matilda Kshesinskaya

    "Burn for Matilda." First a jeep rammed into a movie theater, now torched cars. "Rage at tsar film suspected in Russia car blaze" http://www.bbc.com/news/world-europe-41225387
  8. 2017-18 Season

    Laetitia Pujol's farewell performance will take place on September 23. In addition to "Emeralds" she will perform a pas de deux from Neumeier's Sylvia with Manuel Legris.
  9. Natasha Osipova on Her Future (Recent)

    No, neither am I. And it's not just batterie that's suffering. I'm seeing a lot of simplification of grand allegro sequences as well. And of course the spaghetti dancers/asparagus ballerinas/flexerinas are often a pretty wobbly bunch, and for that matter I haven't seen many really, truly beautiful fouettes in some time. And what about Bournonville's "the height of artistic skill is to know how to conceal the mechanical effort and strain beneath harmonious calm"? I haven't seen much of that lately either.
  10. 2017/2018 season

    Soloist Anna Okuneva, who had been particularly outspoken about the cancellation of Nureyev (and also the arrest of Kirill Serebrennikov), has decamped for the Stanislavsky. She had been cast at the Bolshoi for September, but off the top of my head I can no longer remember what she'd been scheduled to dance.
  11. Few details so far, but the usual suspects--Australian Ballet, Bolshoi Ballet, Royal Ballet, National Ballet of Canada and San Francisco Ballet--will be streaming on Thursday, October 5, 2017. As a year ago, World Ballet Day will be streamed on Facebook. http://www.roh.org.uk/news/world-ballet-day-5-october-2017
  12. World Ballet Day Live - 5 October 2017

    I am willing to bet that any ballet company has more than enough extroverts willing to rehearse in front of the camera so that the P.R. and educational aspects of a live stream are never in jeopardy, and the dancers who would rather not participate know it. During one Australian Ballet segment of World Ballet Day Live it was mentioned that the company conducted two morning classes simultaneously, but it was noted (with a laugh by AD David McAllister) that a majority of dancers opted for the studio with the cameras that day. And if you're Helgi Tomasson, and you're artistic director, you just have to grit your teeth and go through with it.
  13. 2017 Fall Season

    If you've ever bought tickets online, you will probably be on the email list. I now live waaay outside New York, but the emails from NYCB come regularly. It would probably be enough to create an online account.
  14. Building New Ballet Audiences

    I remember the days when Stacy Keach hosted a primetime performing arts showcase, courtesy of which I made a couple of earth-shattering discoveries, when the network broadcast stage plays, and when it engaged in a pitched battle against PBS in the costume-drama sweepstakes. The monster hit 1995 version of Pride and Prejudice was broadcast in America on A&E.
  15. The program is available free of charge and on demand until December 2, although you do need to log in to watch it.
  16. Fabulous news! Thank you for posting the link. (Funny, though, that it's advertised as live, when the description also states that the performance was recorded at the end of July. )
  17. Building New Ballet Audiences

    I think it was sandik who once pointed out that promotion for film releases is done by the movie studios, not the movie theaters, which may explain why the multiplex chains are so bad at promoting their arts presentations. In Canada the Cineplex chain carries the bulk of Bolshoi, Met and National Theatre screenings in the country. Ticket prices for the Met are $28, $27 (65+) and $27 (13-), with a group discount rate of 15%. For the National Theatre it's $23, $22 (65+) and $22 (13-). Admittedly, most of its productions wouldn't be suitable for children. For the Bolshoi (sadly the Royal Ballet disappeared a couple seasons ago, although from my experience its attendance rate was comparable) it's $20, $19 (65+) and $13 (13-). Clearly the chain is incentivizing children's attendance at the ballet broadcasts, only it's not reaching parents and dance schools with this information. I agree with you: the dance education organizations should be making some sort of deal with the distributor, I guess Fathom Events in the U.S., to promote the screenings and encourage group attendance by dance school pupils at a discounted rate. Ballet companies, sadly, seem to look upon the broadcasts as competition.
  18. Building New Ballet Audiences

    Unfortunately, there seems to be absolutely no attempt to promote the screenings to local dance schools, even though you'd think it would an obvious target audience, and the kids would be free on Sunday afternoons to watch the Bolshoi. When I attend ballet screenings locally, there are almost never any children in the auditorium. I've attended a screening in central Toronto, and the auditorium of about 125 seats was packed, but it was an adult crowd. (A live performance was taking place the same afternoon a few blocks away.) Once I attended in Kalispell, MT (pop. 22,761), and the audience wasn't especially large, maybe two dozen people, but about half of it was made up of bunheads; I dare say that was the personal initiative of their teacher.
  19. Building New Ballet Audiences

    Connect that laptop to the big-screen TV and stereo system, and you can sit down the entire family to watch a stream and discuss it afterwards. There is some evidence that this happens, although not, perhaps, in the format that you describe. The Vienna State Opera streams about 50 performances a season. But at €14 a pop, it isn't cheap. In an interview a couple of years ago the project's director mentioned the existence of VSO viewing parties, where friends gather at one home, arrange a potluck dinner and watch a performance together to lessen the expense each person has to bear. I'll admit that where streams are concerned, the pickings for dance, and ballet in particular, are pretty slim. But there are fabulous classical music channels out there, and I wouldn't dream of watching the concerts on a computer screen with tinny sound. But when the performances are redirected through the TV screen and stereo, the experience is extremely satisfying and, yes, communal. Dutch radio has an amazing classical music channel. A number of orchestras load complete works/performances onto YouTube, including the Frankfurt Radio Symphony Orchestra, Warsaw Philharmonic and Flanders Symphony Orchestra. Arte Concert is a vast video resource, though there can be geo-blocks. Culturebox has a YouTube channel in addition to its main site, though there are geoblocks there, too, and classical art is in the minority. EuroArts posts a ton of things on YouTube, though I understand that most of the substantial stuff is blocked in the United States, unforunately. And of course there's Opera Platform and Medici.tv, which requires registering and logging-in. In other words, it would be possible to spend the entire day watching nothing but classical music on a connected TV. (The downside? I will admit that in the last couple of years my attendance at local classical music concerts has fallen, which has as much to do with my dissatisfaction with the local orchestra's repertoire choices and resident conductor, as it does with the accessibility of free classical music streams.)
  20. Building New Ballet Audiences

    Or, in my case, a somewhat creaky laptop. My mother is my niece's full-time babysitter. You can bet grandma relies on a lot of YouTube and has a handy stack of DVDs standing by. My niece watched her first ballet courtesy of YouTube at two: Giselle (except where the music got scary.) She promptly changed her outfit herself and recreated Giselle's first-act variation. (This was filmed on grandma's tablet. It's priceless.) My now four-year-old niece has already informed her parents that when she get a little older, she plans to take ballet lessons, and while she tells them that she can't stand on her toes yet, because it hurts and she hasn't got the right shoes, in a few years she'll do that, too, she declares. Incidentally, my mother is a painter and a musician, not a dancer, but it's still a bit soon for opera.
  21. 2017 Fall Season

    It's an awfully old idea, going back at least to Genesis, when Isaac was tricked into bestowing onto Jacob the blessing he had intended for Esau. Certainly Isaac wasn't morally culpable, only blind, literally, but it didn't matter that he was duped by Jacob's hairy-arm disguise. Isaac didn't intend to give that blessing to Jacob, but no matter how much Isaac and Esau despaired about what happened, what's done can't be undone. Yes, the K. Sergeyev staging is completely incoherent on this point. I wonder whether she feels the same way about "Diamonds." I doubt it, somehow. But among Russian audiences who dislike Balanchine, and Jewels in particular, you will hear the criticism that the music is too symphonic and undanceable. It's like 1877 all over again. I'm not sure I agree that the score is too great. I think it is very great in parts, but also unbalanced in construction and uneven in quality. Petipa certainly recognized this, leading him to re-order the score and dispose of many numbers, some of which are downright risible. (Think of the coda Ashton used for his pas de quatre. It's so preposterous, I can barely call it music.) Actually, I feel this way about the Vision Scene in Sleeping Beauty more so than I feel about anything in Swan Lake. (For my taste, the "Elégie" in Tchaikovsky Suite no. 3 is more like it.) But I also don't think the score to Sleeping Beauty is unadulterated genius. Consider the coda of the wedding pas de deux. It repeats the same insipid ten-note phrase 16 times in a row . Sure, Tchaikovsky dresses it up, but it doesn't alter the fact the foundation is an inane little tune. I vote for The Nutcracker as Tchaikovsky's greatest ballet music. Apart from the Prince's uninteresting tarantella, notably absent from Balanchine's production, I find it to be nearly uninterrupted inspiration, frankly, something not encountered all that often in Tchaikovsky.
  22. Your Desert Island Triple Bill

    For me it evokes the childhood thrill of watching planes take off.
  23. Your Desert Island Triple Bill

    1. Concerto Barocco 2. Liebeslieder Walzer 3. The Four Temperaments I wouldn't want to live without any of them. Barocco and the 4Ts were hugely influential in my ballet-going development, and I couldn't survive a desert island without Brahms.
  24. Nureyev premier postponed to 2018/2019

    Ironic. The case against Serebrennikov and his colleagues alleges that the state paid for a production of A Midsummer Night's Dream that never took place, except that it did, whereas if Nureyev never sees the light of day, all the money sunk into it will probably just be written off. http://www.telegraph.co.uk/news/2017/08/22/russian-directorkirill-serebrennikov-charged-embezzling-880000/
  25. Nureyev premier postponed to 2018/2019

    Serebrennikov has been arrested and is likely to be charged with embezzlement, which could lead to a sentence of up to 10 years in prison. https://www.apnews.com/17ac70467d5c48548f35605ef0cacadf/Russian-theater-director-detained-in-embezzlement-case http://www.hollywoodreporter.com/news/russian-director-detained-fraud-probe-1031512
×