Mid program casting replacement
Posted 23 January 2000 - 08:06 PM
[This message has been edited by Bridget (edited January 23, 2000).]
Posted 23 January 2000 - 08:21 PM
I've always wondered how Sherri got through the act with such ease, considering the fact that she'd never learned the role before.
Posted 24 January 2000 - 02:35 PM
Posted 24 January 2000 - 04:26 PM
As for Sherri, she had understudied the role
Posted 24 January 2000 - 05:59 PM
Posted 24 January 2000 - 07:39 PM
I've always suspected that the Bolshoi did this in order to show off more of their stars.
Posted 24 January 2000 - 08:34 PM
I will take the chance of boring you with one that happened in the world of opera—at the Michigan Opera Theater, during a sold out Saturday night performance of “Aida”, which at least has a not insignificant dance component.
Camilla Johnson, a gifted soprano who is developing a reputation for canceling performances, was singing the Ethiopian princess. She seemed fine during the first act. During the intermission David DiChiera, the general director of the MOT stepped from backstage and announced that Ms. Johnson was ill but wanted to continue and begged our indulgence. I turned to the person sitting next to me and said “that is the last we will see of her tonight”.
A bit later DiCheira appeared again, this time to announce that Ms. Johnson was unable to continue but that Marquita Lister, the alternate cast Aida, was in the house, getting into her costume and warming up. And this time begged our indulgence for Ms. Lister. By now the intermission seemed as long as the second act of “Gotterdamerung”.
The performance was structured so that the Nile scene came immediately after the intermission. Ms. Lister had to walk out on the stage and sing “O Patria Mia” right away. This may be the equivalent of coming into “Swan Lake” just in time to start the 32 fouettes.
She was marvelous (as she had been with the “B” cast) and earned thunderous applause after this aria and a standing ovation during the curtain calls.
Posted 25 January 2000 - 12:05 AM
Posted 25 January 2000 - 09:40 AM
Interesting story about Makarova and the Kirov. Do you have any idea why there was a different ballerina for Act III? Was the Kirov doing this in other performances, or was it because Makarova was not at that time strong enough to do all three acts?
Posted 25 January 2000 - 01:46 PM
[This message has been edited by Nanatchka (edited January 25, 2000).]
Guest_Laura C. Cutler_*
Posted 25 January 2000 - 06:30 PM
Regarding unannounced substitutions: I think it's really bad for substitutions to go unannounced. It's not fair to either of the dancers or to the audience. I'm really surprised companies (particularly major ones) would do this, or that they get away with it. Aren't there union rules requiring substitutions to be announced? It seems unprofessional to me.
One curiosity between ballet and opera--It used to be not terribly uncommon (perhaps still isn't) for an announcement or program insert to inform the audience that a particular singer was not quite well, but was going to (bravely and valiantly, by implication) perform nevertheless. (I was told singers don't want people to hear them in bad condition and think that's how they always sound.) I have only once seen this happen in ballet, in a situation where there was no possible replacement, and the ballerina was able to do the dancing, but had to wear a kind of brace or bandage (can't remember if it was on the leg or arm). There was no getting around the obviousness of the brace, so they decided it was better to let the audience in on what the deal was, than to have them distracted and confused by it. She did a fine performance, and probably got some sympathy points, too. Has anyone else here attended a performance where a dancer was announced 'not well, but performing'?
Posted 25 January 2000 - 07:26 PM
Posted 26 January 2000 - 01:10 AM
Posted 26 January 2000 - 05:50 PM
Posted 27 January 2000 - 06:23 AM
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