Posted 27 January 2013 - 05:19 PM
Bart, I'm also very glad to hear Patricia Delgado and Leigh-Ann Esty's names favorably mentioned as their sisters (Jeanette Delgado and Sara Esty) tend to get a great deal of the attention. I've always liked Patricia Delgado for her refined manner and Leigh-Ann Esty remains, lovingly, one of the twins that often knocked me over as the speed of light team in such works as Twyla Tharp's "In The Upper Room" and "Night Spot."
Posted 28 January 2013 - 11:13 AM
Don Q Pas de Deux. Jeanette Delgado replaced Mary Carmen Catoya on Sunday matinee, dancing with Reyneris Reyes. She has the fire needed for therole, but I was pleasantly surprised by the warmth, plush port de bras, and rather "romantic" approach to the adagio. She had a problem with one of the big balances, but made it up by sustaining the last balance. Just about everything was rock solid, including the fouettes (with doubles and at least one set of triples). A group of students from the Harid Conservatory were in the audience. Their cheers at curtain calls showed how excited and impressed they were. The older folk in the audience, while not so vocal, seemed similarly uplifted.
One little nice accent. Delgado-(whom was the only one i saw in the DQPDD)-didn't used the Russian version of the variation with the gaziillion passes, neither the sequence-(which I believed was used by all the dancers during the full lenght production)-of pirouettes during the final diagonal, but instead danced the whole variation as it's staged by Alonso in Cuba, which she also imported from her NY days, with the jetes at first and the final diagonal of little pas de cheval while fanning herself.
Posted 28 January 2013 - 11:57 AM
Cristian, maybe you can answer a question I have about Reyneris Reyes' variation. At one point he did multiple, non-travelling tours en l'air -- to the right, then to the left, then right again, then left again. This struck me as being unfamiliar.
Posted 29 January 2013 - 10:18 AM
I think we audience members are obsessive and want to see the same things over and over. At least I know I do. I could watch Raymonda or Sleeping Beauty over and over and never tire of them. I am the same way about opera (Bellini's Norma or Wagner's Ring). There are certain works I know and love so much that I want to see them whenever a new person performs the work.
But I suspect dancers are the opposite of me. They long and crave to dance new ballets tailored for them. I bet it is very exciting.
Euphotic was interesting, and I wouldn't mind seeing it again, but I am not sure it is better than most Balanchine, and I am not certain it really breaks much new ground. But it looked like it was probably exciting and fun for the dancers. The dancers have a totally different view of the work than an audience member. They "feel" the dance. We "see" it. So what may look "decent" or "nice" to us might actually feel "exciting and thrilling" to them. Who knows?
Posted 29 January 2013 - 12:03 PM
I personally liked Liam Scarlett's first work here, “Viscera,” very much and would have loved to have seen this one.
I'm also one who enjoyed the debut of Twyla Tharp's "Night Spot" very much. I thought that the dancers showed an excitement and proficiency that was different from their norm and worthy of some of the finest references to Broadway. They burned up the stage, hopefully had a lot of fun doing it and were darn good.
On the other hand, I hope that they keep their Balanchine rep as alive and well as is possible because they are great at it.
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