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2013 Met Season--Pre-Season and General Info(Please post reviews on program-specific threads)


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#361 mussel

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Posted 08 July 2013 - 08:24 AM

 

NB: I think this maybe should be in the 2014 prediction thread not the 2013 gen info one?

 

 

The production was part of 2013 Met roster, and I don't want to start 2015 thread.



#362 Jayne

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Posted 08 July 2013 - 08:34 AM

This clip will give you an idea of the Ratmansky version (although this is not my favorite ballerina to play Kitri)

 

https://www.youtube....h?v=a8ebKxHkaHY

 

Mr Ratmansky's ballet follows all of the iconic steps from the original, but his version has more steps, fewer pauses to stand around compared to more traditional versions.  Also, his versions look more like natural, organic dances.  The characters look more like they are dancing for their own pleasure, and for the pleasure of their own friends.  This creates a sense of vitality that is very engaging for the audience.  But they also look less formal in style (not necessarily formalistic, as in the Soviet criticism).  Some people think it looks sloppy.  I know "The Rat" has his detractors.  But I enjoy his works and will continue to pay my hard earned money to go see them.

 

Selfishly, I wish ABT would do the Ratmansky version.  Why?  Because I want PNB to build the sets and costumes, and share the production with ABT.  

 

Realistically, the current Baryshnikov staging is popular in NYC and on tour, that blood-orange dress for Kitri is something of an institution!



#363 Helene

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Posted 08 July 2013 - 08:38 AM

Considering that ABT already has productions of all of the usual suspects, it's a pretty sure bet that one of the existing productions will be replaced. The productions that bring in the most revenue, are the most prestigious and have the big guest names, and on which traditional sponsors want to hang their nameplates are "Swan Lake" and "Sleeping Beauty," which are also the ABT productions that get the most criticism.

I haven't seen the Swamp Thing, but my sense from what is written here, the criticism for the production has at least in part an affectionate tone, unlike for "Sleeping Beauty."

I saw the first revised version of "Sleeping Beauty," which is a hot mess, and if there's anyone who can bring coherence, balance, and proportion to this ballet -- choreographically and dramatically -- it's Ratmansky. Not to be underestimated is his ability to involve every last person on stage and how he demands that every person who puts foot on stage is invested. (This aspect is missing in the film of "Don Q" because the editors had to choose one thing to watch at any momement, and outside the set pieces, at most 25% was captured.). Since the corps has to spend a lot of time carrying the figurative baskets of grapes, at least in a Ratmansky version, they'll be integral. They deserve at least this.

 Also, his versions look more like natural, organic dances.  The characters look more like they are dancing for their own pleasure, and for the pleasure of their own friends.  This creates a sense of vitality that is very engaging for the audience.  But they also look less formal in style (not necessarily formalistic, as in the Soviet criticism).  Some people think it looks sloppy.

I don't see anything sloppy about his "Don Q," which is put together with the precision of a room full of Swiss watches. There are a lot of things going on at once: it should be a perfect piece for our age of constant distraction, but it demands that the audience be it's own camera in many of the group scenes. However, where there was a plot point to be made, like Basilio feigning death, he seamlessly pulled back the distractions and the focus was on the point that furthered the plot.

He also used the Grand Pas structure that Petipa used in more than one ballet, which was having two soloists take part in it. It softens the circus aspect of the "Don Q" Act III Pas de Deux.

#364 California

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Posted 08 July 2013 - 09:04 AM

 

Realistically, the current Baryshnikov staging is popular in NYC and on tour, that blood-orange dress for Kitri is something of an institution!

Although the current staging seems close to the Baryshnikov staging from 1978, he is not credited in the print programs. Choreography is credited to Petipa and Gorsky with staging credited to McKenzie and Jones.

 

After Baryshnikov resigned as AD in 1989, there were some reports that he was taking his ballets with him, but perhaps others remember the exact details on this. Others might remember better than I do to what extent we're seeing the Baryshnikov staging.

 

Another oddity about the Baryshnikov staging: several years ago, I stumbled onto a complete performance on YouTube of the Kirov in Japan doing the full-length DQ with Baryshnikov (before he defected, of course). It didn't stay on-line very long, though. My memory is that it was strikingly similar to the version he staged for ABT in 1978. Perhaps somebody realized the similarities were too close and demanded that the Kirov version be taken off-line. I wonder if others remember this.

 

The red dress for Kitri was worn by Cynthia Harvey in the 1983 performance, still available on DVD. But in the premiere season, Gelsey wore a long purple dress in Act I. You could see brief glimpses of it on her web site at one point. And it's visible in the archival tapes you can see at the NYPL Performing Arts Library.



#365 rg

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Posted 08 July 2013 - 09:07 AM

 

Realistically, the current Baryshnikov staging is popular in NYC and on tour, that blood-orange dress for Kitri is something of an institution!

 

the staging for ABT's current Petipa/Gorsky production of DON QUIXOTE is credited to Kevin McKenzie and Susan Jones.

Baryshnikov withdrew his version when he left the company in 1989/90.

the one that immediately followed at ABT was by Vladimir Vasiliev.

if this current one bears any resemblance to what Baryshnikov staged it's b/c such sections quote the standard Petipa/Gorsky choreographic texts that Baryshnikov's own staging included.

Loquasto's designs, both scenery and costumes, have been more or less maintained at ABT but even these have been altered since the time of Baryshnikov's staging, tho' to be sure there are any number of similarities from Baryshnikov's day.



#366 aurora

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Posted 08 July 2013 - 09:17 AM

Considering that ABT already has productions of all of the usual suspects, it's a pretty sure bet that one of the existing productions will be replaced. The productions that bring in the most revenue, are the most prestigious and have the big guest names, and on which traditional sponsors want to hang their nameplates are "Swan Lake" and "Sleeping Beauty," which are also the ABT productions that get the most criticism.

I haven't seen the Swamp Thing, but my sense from what is written here, the criticism for the production has at least in part an affectionate tone, unlike for "Sleeping Beauty."

I saw the first revised version of "Sleeping Beauty," which is a hot mess, and if there's anyone who can bring coherence, balance, and proportion to this ballet -- choreographically and dramatically -- it's Ratmansky. Not to be underestimated is his ability to involve every last person on stage and how he demands that every person who puts foot on stage is invested. (This aspect is missing in the film of "Don Q" because the editors had to choose one thing to watch at any momement, and outside the set pieces, at most 25% was captured.). Since the corps has to spend a lot of time carrying the figurative baskets of grapes, at least in a Ratmansky version, they'll be integral. They deserve at least this.

 

I think people enjoy complaining about swamp thing and the purple pimp, but the real criticism (with more validity) of SL is its truncated final act.

 

Personally I'd rather see SB be overhauled. Despite Macaulay's assertion, I think it is by far the weaker by far of the two. I just wonder if ABT will be willing to toss such a considerable expense so soon.



#367 angelica

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Posted 08 July 2013 - 11:26 AM

What struck me most about SB is how much classical dancing there actually is. I'm happy not to sit through a cutesy Puss in Boots and Little Red Riding Hood, and instead keep the focus on the classical dancing. Please don't even touch the Vision scene. Mostly I disliked Carabosse's minions, who reminded me of characters in Ratmansky ballets (Nutcracker?) Also, the costumes are just too over-the-top elaborate. No wonder they need "dressers" backstage.

 

I'd love to see SL revised, especially (1) the el-cheapo maypole in Act 1; (2) the Act 1 costumes which seem huge and heavy and must be unbearable to dance in; (3) again, the heavy costuming in Act III, especially the headpieces, like the pillbox hat, that obscure the line; (4) the seemingly random running and jumping across the stage at the beginning of Act 4 while the scenery is being changed; (5) an Act IV closer in its soulful dancing of the entire corps to the beautiful one with Nina Ananiashvili and Alexei Fadeyechev and the State Ballet of Perm, on DVD.



#368 ABT Fan

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Posted 09 July 2013 - 06:47 PM

I can't find where this was previously discussed, but has there been any formal announcement anywhere on any ABT corps members leaving post Met season? It doesn't look like their website has been updated with the dancer roster yet (even Irina is still listed).

#369 Helene

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Posted 10 July 2013 - 04:37 PM

[Admin beanie on]

The forum rules prohibit the mention of any info that is not official. That includes partial info that hasn't been made official, ex: a number without names, and any mention that you know something that other members don't. There is nothing new in this: it's been policy for over a decade.

[Admin beanie off]

#370 mussel

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Posted 12 July 2013 - 09:55 AM

Since Ratmansky's track record was bought up, here's the impressions (reviews here and in newspapers) of his full-length staging:

Petipa/Ivanov classics
  Le Corsaire: positive
  Nutcracker: mixed to positive
  Don Q: positive

Non Petipa
  Bright Stream: positive
  Flames of Paris: positive
  Lost Illusion: ?
  Bolt: ?
  R&J: ?
  Cinderella: mixed
  Anna Karenina: positive
  Little Humpback Horse: positive

 

Did I miss anything?  I haven't heard much about Lost Illusion, Bolt (both Bolshoi) and R&J (Toronto Ballet).  So he's got a pretty good track record in terms of full-length staging. If he was to stage one of the Petipa classics, I hope he'd follow the paths of Corsaire and Don Q.



#371 kbarber

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Posted 15 July 2013 - 01:12 AM

Ratmansky's R&J is performed by The National Ballet of Canada (there is no "Toronto Ballet"). Reviews in Canada (and from Alastair Macaulay) have been mostly rapturous; in England they were mostly negative. I have posted links to reviews

http://toursenlair.b...and-juliet.html

http://toursenlair.b...meo-juliet.html



#372 Josette

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Posted 15 July 2013 - 11:16 AM

As a former dancer with the National Ballet of Canada, thank you, kbarber, for the previous email!



#373 volcanohunter

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Posted 05 August 2013 - 02:56 AM

Since we have been talking about discerning Iago's motivations, I thought I would post this review of a current production of Othello that is playing at London's National Theater, with the great actor Rory Kinear playing Iago. This article addresses the question of Iago's motives. Othello will be shown live in the US at part of the NTLive programs on Sept 26, 2013. (Go To the NTLive website to find theaters and times).

http://theater.nytim...6.html?ref=arts

off%20topic.gif I saw this yesterday and was disappointed. Kinnear's Iago was distressingly monochromatic. Adrian Lester was mostly a void, and the production itself is a little clunky. The only thing that saved it for me was Lyndsey Marshal's Emilia.



#374 Swanilda8

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Posted 06 August 2013 - 12:15 PM

Did I miss anything?  I haven't heard much about Lost Illusion, Bolt (both Bolshoi) and R&J (Toronto Ballet).  So he's got a pretty good track record in terms of full-length staging. If he was to stage one of the Petipa classics, I hope he'd follow the paths of Corsaire and Don Q.

 

As others have stated, Ratmansky's Corsaire is extraordinarily faithful to the Petipa version - probably more faithful than most other productions around.  I'd add that for the two ballets where he's really invented his own choreography wholesale (Nutcracker and Cinderella) there is no canonical version available.  (I happen to really love both productions anyway - although I seem to be the only person who feels that way about his Cinderella).  Anyways, I think we could count on him preserving the Petipa and Ivanov choreography in SL and SB.  I for one would love to see him revamp SL, mostly because I've yet to see a production anywhere that satisfies me and I want to see him give it a go, whereas there are lots of excellent SB productions at other companies.  




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