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MCB 2013-2014 season


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#46 cubanmiamiboy

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Posted 29 August 2013 - 12:10 PM

Watching Mrs Ashley right now rehearsing Albertson in Ballo from the studio windows in my bike...!

#47 Jack Reed

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Posted 29 August 2013 - 02:07 PM

In her role?  I would have guessed one of the Delgado sisters, wouldn't you?  But guessing like that and being wrong like that has always been part of the fun of it for me.

 

Cristian, do many people stop and watch there on 22nd Street?  When the studios were in several former store fronts in Lincoln Road (a very popular pedestrian mall between 16th and 17th Streets, with lots of shops and restaurants and bars etc., for those not familiar with South Beach), as you may remember, there were usually a few at least, any time there was activity inside.



#48 cubanmiamiboy

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Posted 29 August 2013 - 03:09 PM

jack...22nd. St. is a little more reclusive, for which it is off Collins Ave.  You might never guess the ballet school is right there.  Very few people walk by.  I was on my way to the local library branch and decided to check if there was some activity inside.  As soon as I propped myself on top of my bike on the window, I saw Ashley center studio walking through a step combination.  Behind her there were Albertson, one of the Esty sisters-(can never tell who's who...)-and Nathalia Arja.  To be honest, it was Arja, obviously the youngest, less experienced dancer of the trio, the one that was approaching the role with more brio.  I must say I have VERY fond memories of "Ballo..", for which it was probably the very last role I saw Lorna Feijoo dance in Cuba, and I think it will be a tough contender to beat.  She was MAGNIFICENT, as this is a ballet all about speedy accents, qualities that Feijoo mastered to perfection under Mrs. Ashley guidance.

 

 

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#49 bart

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Posted 30 August 2013 - 06:40 AM

-- Jason Fowler has been down to work on Christopher Wheeldon's Polyhymnia.

 
That would be Polyphonia.
Thanks for the correction. I guess I had muses on my mind.

#50 bart

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Posted 30 August 2013 - 06:57 AM

Cristian, I envy you your chance to observe through the plate glass windows. I wonder how the casting is/was determined. In a new work, the choreographer sometimes getd to choose. But what about a situation like this, when the repetiteur is the dancer on whom the work was created? I don't know whether Lopez has danced the role but imagine she has watched it often. Ashley of course knows the role intimately, though not MCB's dancers.

Albertson is one of those dancers I always watch with fingers crossed. She is capable of so much, though her performances don't always make the impact that they should. Sometimes this seems to be a matter of concentrating on details and losing the overall arc. In Ballo especially it can be death, during passages like the one on the video above, if your eyes want to drift away to the other women on stage. I hope Albertson will be able create that metaphorical spotlight that obliges the audience to pay 100% attention. I can't wait to see her (and possibly Esty and Arja too).

#51 cubanmiamiboy

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Posted 30 August 2013 - 09:29 AM

bart...besides Ashley, there was another lady in the studio, sitting on the wall watching the whole rehearsal.  Every time Ashley stood up to demonstrate, she looked as if she was first doing it first to this lady and then to the other dancers, and I also noticed the woman speaking at times. The lady was younger than Ashley and older than the three dancers on the floor.  I wonder if she is another ex dancer from City Ballet whom might have danced the role too and was helping the rehearsal process. 

Next to me, in a corner inside, there was a camera man with a huge equipment. He was filming the entire thing.



#52 cubanmiamiboy

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Posted 30 August 2013 - 10:51 AM

bart...besides Ashley, there was another lady in the studio, sitting on the wall watching the whole rehearsal.  Every time Ashley stood up to demonstrate, she looked as if she was first doing it first to this lady and then to the other dancers, and I also noticed the woman speaking at times. The lady was younger than Ashley and older than the three dancers on the floor.  I wonder if she is another ex dancer from City Ballet whom might have danced the role too and was helping the rehearsal process. 

Next to me, in a corner inside, there was a camera man with a huge equipment. He was filming the entire thing.

 

BTW...here's a pic of the school.  All those panels on the sidewalk left are the studios windows.  This is mainly a residential area, and the open ocean/beach is just two blocks away, walking toward the picture's camera.

 

2012-09-13-17.54.46.jpg



#53 bart

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Posted 30 August 2013 - 11:05 AM

Next to me, in a corner inside, there was a camera man with a huge equipment. He was filming the entire thing.

I wonder whether this was for MCB's benefit alone,  or possibly a version of the Balanchine Foundation's Interpreters Archive of coaching sessions.

 

Thanks for the photo.  I love that location.  We come down a couple of times a year for the Open Barre performances (matinees) and to stroll the beach and eat something in one of the cafes.  There's always the hope of a dancer-sighting, of course.



#54 cubanmiamiboy

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Posted 30 August 2013 - 11:42 AM

bart...has Ballo been filmed already with Ashley for the Interpreters Archive collection...?

 

I would say this could be the time to do so, still with the role originator young, able to demonstrate, and the memories of the role still fresh.  Delaying too much reconstructions and re stagings has proven sometimes too bad.  Dancers forget.



#55 kfw

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Posted 30 August 2013 - 12:16 PM

has Ballo been filmed already with Ashley for the Interpreters Archive collection...?

 

 

Yes. She taught it to NYCB's Joaquin De Luz and Ana Sophia Scheller in 2005. Leigh Witchel wrote about it in the Spring 2005 issue of DanceView (which as you know, but some others reading may not is edited by - a plug here - Ballet Alert founder Alexandra Tomalonis). 



#56 bart

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Posted 30 August 2013 - 12:20 PM

I just checked and see that Ashley has already done an Interpreter's Archive segment for Ballo, with Ana Sophia Scheller and Joaquin De Luz (NYCB), April 3-4 2005.  Thinking about it, a single cameraman suggests something being done inhouse at MCB.  The Archive series includes sound, with interviewers who include such figures as Nancy Reynolds, Arlene Croce, Francis Mason, Nancy Goldner, our own rg, Robert Gottlieb, Francia Russell, Anna Kisselgoff, Joan Acocella,etc. Deborah Jowell did the interviewing for Ballo.
 
An interesting sidebar is that Edward Villella did the next Archive's segment, in 2008.  With Sara Esty and Alex Wong (Tarentella) and Jennifer Kronenberg and Renanto Penteado (Rubies).\
 
Here is the link to the complete list of projects.  You can read accounts of a number of them if you have a collection of old numbers of DanceView.  Several of the sessions were written up by Leigh Witchell.

http://www.balanchin...ves_videos.html
 
EDITED TO ADD:  I see that kfw and I were cross-posting about the Ashley-Ballo filming.
 
Also:  the first MCB Interpreter's Archive filming was in 1999:   Maria Tallchief no less, coaching principal roles from Pas de Dix and Allegro Brilliante -- and Marjorie Tallchief coaching a variation from Pas de Trois (Minkus).  Dancers were MCB's prima at the time Ileana Lopez, with her husband Franklin Gamero.  And Deanna Seay, Mikhail Nikitine, and Melanie Atkins in the Pas the Trois..

#57 kfw

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Posted 30 August 2013 - 12:50 PM

EDITED TO ADD:  I see that kfw and I were cross-posting about the Ashley-Ballo filming..

 

I should have known you'd know the answer, but I had fun searching through my old DanceViews. smile.png



#58 cahill

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Posted 10 October 2013 - 04:09 PM

Dancers Leigh-Ann Esty and Zoe Zien reveal the secrets behind George Balanchine's 'Serenade' in a new MCB blog post.   Dancing included!

 

http://www.miamicityballet.org/blog/



#59 Helene

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Posted 10 October 2013 - 09:14 PM

I always :) when younger dancers describe "Serenade" as if the original students at School of American Ballet in 1934 were bunheads.  The students 1934 were from a range of backgrounds, and in a Q&A at PNB, Doug Fullington explained that many were professional dancers/performers who wanted to hone their technique, and they had a wide range of body types.  They were not intense teenagers training for a profession that didn't exist in America in its current form at that time.



#60 Buddy

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Posted 20 October 2013 - 06:41 AM

I just haven't had the time to follow the MCB recently. Under Edward Villella it was one of my favorite companies in the world, and I'm pretty much a Mariinsky lover, which is quite different. Could I possibly ask what may have been covered already. How does the company compare so far to its Villella days?
 
Added:
 
For instance Nathalia Arja from Jordan Levin's review yesterday is a completely new name to me.
 



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