POB Headed to NYC in 2012
Posted 13 July 2012 - 06:21 AM
Posted 13 July 2012 - 06:51 AM
Posted 13 July 2012 - 07:03 AM
Posted 13 July 2012 - 10:09 AM
Posted 13 July 2012 - 10:29 AM
Posted 13 July 2012 - 12:57 PM
Posted 13 July 2012 - 02:01 PM
Posted 13 July 2012 - 03:05 PM
Posted 14 July 2012 - 05:27 AM
I'm not saying I love it all, or like it better than the what we see here all the time or the usual Russian stuff that gets brought here. But except for the Lifar, which is where Russia meets the Paris style (with less or more continuity, a strange hybrid it is!), it's a company training and repertory we just don't see.
So: Vive la différence.
And then there was that extraordinary Giselle last night.
Posted 14 July 2012 - 05:51 AM
What is most striking to me about this company is the clarity of execution. You can "read" every step and no one takes short cuts.
Two Giselles to go today. Will I remember each one in its singularity or will they combine in a single blur of magnificence? I'll take it either way.
Posted 14 July 2012 - 06:10 AM
Posted 14 July 2012 - 06:32 AM
Certain details I really enjoyed were two separate moments in Act I when Dupont feels the presence/onset of the Wilis approaching. (One such moment is when her mother is telling the story of the Willis, and she is on the opposite end of the stage and cups her hand to her ear. Then she rubs her arms, as though she feels a sudden chill.) I also liked how this production makes very clear why Albrecht's sword is such an important detail in revealing his true identity. That is mostly lost in the ABT version.
Posted 14 July 2012 - 07:30 AM
That's POB's way of doing it, it's the same glacial pace in its Blu Ray recording with Gillot as Myrtha. I think the fast bourrees ABT does really grab your attention.
Posted 14 July 2012 - 08:02 AM
Where she got elevation was in the lifts. And what lifts, Ganio's partnering was very strong, did you see the way Dupont lay back in the first one? And during the second series, that's where her elevation was low, but when he took her over, she soared. It's a detail in the blocking.
What people are reacting to is a different training and approach. Good or not, these details are intentional. I found Dupont's effacement not just of her personality, but her humanity in Act 2 unprecedented and amazing. It was not just that she wasn't herself, but that, with the blue- grey makeup and staying completely frozen from the shoulders up, and never meeting Albrecht's eyes, she wasn't even human. And that's the dramatic point.
Posted 14 July 2012 - 08:49 AM
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