Stars of the RDB in Newark
Posted 29 January 2004 - 08:14 PM
Posted 29 January 2004 - 09:17 PM
Because Caroline Cavallo was at NYCB, we got Gudrun Bojesen in her roles (and also Silja Schandorff's). I first saw Bojesen do the Sylph (the same section, the pas d'action from Act II) in '99 at the Bruhn competition. She's grown marvelously as a dancer in the interim in security, projection and even footwork. It was a lovely sylph. For the record, she also did the pas de trois in Konservatoriet (the cast list was the usual disaster)
I would have rather have seen Thomas Lund do Konservatoriet than the William Tell pas, I think it exploits him and boxes him in as wee and adorable. I don't think that shows his true nature. Mads Blangstrup could have done the William Tell pas and given it force. Lund is a fine dancer, airy and supple, but he doesn't fit into many boxes. He's small but weighty and lyric rather than punchy. If the Danes did Petrushka, I'd give it to him even Balanchine's Orpheus, but neither exploits his other virtue, line.
Hubbe did Big Star Bournonville as James. It's clean and it projects, but it's very forceful and relies on presence. Still, he makes you believe in him as a Big Star, so what the heck.
I found the Rushton pieces undistinguished. Good bad or indifferent, the world does not need one more dance to Arvo Part's Fratres and if you're going to use Bach, please show me something about the music. If you're not going to delve into a Bach score, consider using other music. Bach ain't wallpaper.
Napoli was done as the Canadians did it last February, with Flower Festival appended to the front. Amazingly, I've now seen Flower Festival three times in two weeks (Lund/Bojesen guesting at NYCB, Carmena/Bouder and Kristoffer Sakurai and Diana Cuni here). Sakurai was very promising; he's fast and buoyant. Cuni's lovely, my only regret is we saw less of Tina Hojlund, who is marvelous and I would have liked to see her in one Bournonville lead.
It was a strong cast - The women I recognized in the pas de six were Bojesen, Amy Watson and Hojlund. It was a strong and lively performance. I wondered if Hubbe had a hand in ballet mastering it; it looked and felt like his settings for SAB and NBoC and he showed up introducing the Tarantella instead of Gennaro (Lund did that dance with Cuni as a stand in for Teresina, but it's misleading to speak of those roles in a concert version, the Danes don't give us Gennaro and Teresina when they excerpt). Watson did a flirtatious reading of a variation; she eats space avidly. More than anything else, I love the structure of the dance as it's evolved over the years; how dancers wander in and out to take up the skein of a Tarantella or exchange partners in a duet. You can really see the episodic life of a village.
Alas, this did not sell well - the two upper rings were closed off. Is it ballet that is a hard sell or NJPAC?
Posted 29 January 2004 - 10:01 PM
You're being generous, Leigh. I think Rushton used him as a doormat here. :angry:
Bach ain't wallpaper.
The casting of Lund and Watson in the William Tell pdd was strange. They seem to be about the same height, and Watson is a substantial woman for a dancer. Not fat, but large-framed. I agree that Blangstrup would have been better in the Tell, Lund in Konservatoriat.
Bojesun is a delight! Cavallo's absence from this program (which she appeared to have been scheduled to dominate) made a terrific opportunity to savor the delicacy of Bojesun's weightless, vinelike arms. She also has very strong pointe technique for a Danish dancer.
Sakurai is one of the most musical "new" dancers I've seen in a long time. What a joy he is! I love, too, the way he devours space in the low-to-the-floor steps. Wonder how long it will take Peter Martins to recruit him to NYCB? HINT! HINT!
To judge from this crew, this is no Golden Age for the Royal Danish Ballet. So be it. :shrug: Most of them radiate the joy we expect from Bournonville. I'm glad I went.
Oh, and Leigh -- this was my fourth or fifth trip to NJPAC -- always for ballet. I always buy the cheapest seats, but I have never sat in them. The ushers have usually moved me from the Fourth to the Third Tier. Tonight (as you know), I was sent to the second. It is a shame the houses don't sell, but I wish that City Center would make a similar policy of selling the cheapest (2nd balcony) seats, regardless of demand.
Posted 30 January 2004 - 06:11 AM
Leigh, I'm not sure one can draw any conclusion between the Flower Festival preceding Napoli III in Canada and the way it was done with the soloists group. It's not a consistent company tradition (although the Inge Sand troupe used to do a Suite Italienne). Also, I think when Danish dancers do a concert version or an excerpt, rather than drying it out, they pour the whole ballet into the segment to try to give the whole flavor of the ballet in ten minutes. I've seen lots of Napoli pasde6+tarantellas that looked like the full version, minus the sets and crowds, of course, but definitely a wedding celebration, with Teresina and Gennaro as the center.
I hope we'll have more reviews! (I'm still trying to find out who did Terpsichore in Atlanta.)
Posted 30 January 2004 - 06:37 AM
Posted 30 January 2004 - 11:12 AM
Posted 30 January 2004 - 01:21 PM
Did anyone sort out who danced which solo in the pas de six? (Maybe they should have given door prizes for the best guesses....) It's not important; I'm just curious.
Posted 30 January 2004 - 03:41 PM
That's a very good question. The whole deal with the program was a DISASTER. It was either assumed by the people who drew it up that we knew everyone already, or that we didn't care. Leaving aside the issue of actually listing the actual performers, and crediting solo variations, how hard is it to post pictures of the dancers in the lobby, as the Payl Taylor Dance Company does, or sell a little pamphlet?(Assuming there is no space in the actual program for pictures of the dancers.) I didn't think the house was poorly sold. Those upper tiers probably sell out for pop music concerts. (Large spaces often have been planned with arrangments to adjust the space for the type of entertainment, particularly when the auditorium has a function as a kind of civic center, which this one most certainly does, to its great credit.) I thought it was an excellent enaged interested diverse and intelligent audience with an exceptionally nice house staff. I didn't see gaps in the front half of the house, but I would attribute any to the cold weather before anything else.
Back to the confusing program which listed the same three dancers in 'Nomade' (although there were only two principals) and 'Triplex'. I am assuming I saw Hojlund in 'Triplex'--but did I also see her in the lead in 'Nomade' :shrug:
Posted 31 January 2004 - 02:25 PM
Among the women, G Boesen(?) made me want to see her in the whole La Sylphide.T Holjund was also a standout in Triplex(if it was her).It would have been nice to see her in FlowerPDD.
It is a pleasure to go to the NJPAC( A bit of commercial from a NJ resident)The staff is very helful and pleasant and parking is cheap(compared to Lincoln Center). The main floor was almost full.I hope they continue to book ballet there.
Posted 05 February 2004 - 11:23 AM
Silja Schandorff did not dance at all on the Stars of the RDB tour; she was injured in Washington.
I've gotten about three different versions of the casting of the pas de six in Napoli in Newark. We may have a post later from someone who can sort this out -- watch this thread!
Posted 05 February 2004 - 12:42 PM
Amy Watson danced Teresina's part, such as it was, in Napoli.
Posted 05 February 2004 - 12:44 PM
Posted 07 February 2004 - 09:24 AM
Cuni was the woman in Flower Festival (with Sakurai)
Newark -- pas de six in Napoli:
That's in order of solos, and would mean that Tina Hojlund was the "Teresina." I don't have the men yet; I hope to post an update on that.
Posted 11 February 2004 - 10:24 PM
pas de six: Morten Eggert and Nicolai Hansen
Thomas Lund - first solo
Morten Eggert -- second solo
Kristoffer Sakurai -- third solo (Gennaro's solo)
(Diana Cuni and Sakurai did Flower Festival, and then the Teresina and Gennaro roles in Napoli)
Posted 19 February 2004 - 06:13 PM
I had the privilege of seeing her at the Kennedy Center and at the Fox in Atlanta and now regret that I did not see her at the New York State Theater. In Washington, her performance in Napoli was excellent and Etudes was a work of art both technically and stylistically. The audience at the Saturday matinee loved it, applauding throughout the ballet, and gave her and the company an extended standing ovation afterwards. A fact that seems to have been ignored by some reviewers who have lost sight of the fact that in all reality ballet is an art to be enjoyed by dance lovers. Cavallo has always managed to touch the hearts of the majority of the audience. It is obvious to most that she puts her soul into every part and to say that she is bland or pallid is far beyond the belief of most people who see her dance. There have been few if any critics in Copenhagen describe her as dull. Iím sure the audience would agree with The New York Times review that said that emotion is what Miss Cavallo brought to Swan Lake and regality to Piano Concerto.
0 user(s) are reading this topic
0 members, 0 guests, 0 anonymous users
Help support Ballet Alert! and Ballet Talk for Dancers year round by using this search box for your amazon.com purchases: