Some ballet reviews
Posted 03 February 1999 - 12:56 AM
[This message has been edited by Giannina Mooney (edited 02-03-99).]
[This message has been edited by Giannina Mooney (edited 02-03-99).]
Posted 03 February 1999 - 02:39 AM
I'll bet you it was Gillian Murphy...
Posted 03 February 1999 - 07:52 PM
I agree with Olivier; best guess is Gillian Murphy. Check the Ballet Alert! with the interview with Georgina Parkinson in it.
As for Herrera, last time I saw her, her legs and arms were still all over the place. She's still awfully young -- but the endearing pride in and zest for dancing have been tamed. A friend said that ABT was turning her into their idea of a ballerina -- all the airs (I don't mean that she's stuck up, I mean the outward appearance, carriage -- as opposed to placement -- of a ballerina) with none of the polish.
Posted 05 February 1999 - 02:44 AM
Michael Crabbe, our regular pre-ballet speaker, was in rare form tonight. He warned us that the story line of the ballet was nothing more than something on which to hang a bunch of dances. He's right; that's the only way you can accept a ballet that has a pirate leader quelling a rebelling while his girlfriend stands in the background in a tiara and tutu!
[This message has been edited by Giannina Mooney (edited 02-05-99).]
Posted 06 February 1999 - 12:54 PM
Posted 06 February 1999 - 10:57 PM
I had a similar experience. The first year I went to ballet, I saw all the performances of the Danish ballet in DC, but they weren't bringing all the repertory there. So I went to New York because I wanted to see "La Sylphide." This was not an inexpensive undertaking, and I was not rich.
When I got there, having purchased my ticket in advance, I found a sign in the lobby that said that "La Sylphide" had been replaced by Flemming Flindt's absolutely ghastly "The Triumph of Death." Which had been inflicted on Washington for four performances, one of which I had stood through.
I did not stay.
Posted 07 February 1999 - 02:40 AM
Posted 07 February 1999 - 10:36 AM
But it's a a great way to learn a ballet. My first year of ballet going I was determined to learn the repertory -- no videos yet -- and standing room was two bucks at the Kennedy Center. I saw "Sleeping Beauty" (old Stuttgart version, unfortunately, but close enough choreographically, if not stylistically to the real thing) seven nights running.
One of the tests of a great ballet is that you see more of it each time. Sounds like you're seeing less. What's the audience reaction generally, Giannina? New Yorkers loved Corsaire; it was a megahit. But the few Europeans I knew who saw it were shocked at what they considered a low dramatic standard -- they didn't know how to mime, they didn't seem to understand they were supposed to be telling a story.
Thanks much for the reports! At least you'll know the company when it's all over. Hang in there.
Posted 08 February 1999 - 10:42 AM
Alexandra, you asked if the audience liked "Le Corsaire". I think so. They applauded everything enthusiastically (don't get me started). The last performance was a full house, very unusual in So. Calif.; part may have been due to the fact that the ballet was being taped for TV.
One last thought. Those triple pirouettes I saw at the rehearsal were indeed called for in the performance. All the dancers did them, but whoever that first girl was (and I think it was Gillian Murphy) did them without a hitch: not a wobble and in a straight line!!
Posted 08 February 1999 - 03:08 PM
I guess you realize by now, Giannina, with your 'shock-therapy' of Corsaires that it is NOT the same at all. I agree with Alexandra that it is the best way to learn a ballet, as well as the artists involved, especially when the company is big enough to present different casts. Automatically you start to compare, and a dancer who seemed brilliant on the first night, may even turn out to be the worst of all after several nights.
It also tells you a lot about a production. I once saw 14 Kirov-Nutcrackers in a row, and the last one I enjoyed even better than the first, even when everybody was saying this Vainonen version is no good at all. But after that third Nutcracker by the Royal Ballet, I was relieved to see that final curtain coming down.
But whatever, Giannina, if you really dig a ballet, go and see as many as you can. The real fun only starts the second night...
Posted 08 February 1999 - 07:33 PM
As for multiple performances, it's one of the things non-ballet people really don't understand, as Marc said. I remember offering my extra ticket once to a friend for "Giselle" -- Kirkland and Baryshnikov, if you please. "Didn't we see that one last year?" she said, as she declined.
Posted 09 February 1999 - 09:48 AM
they also don't understand why I want to record a ballet on TV when I already have some tapes of other versions.
"But you already have 2 or 3 Giselles, why do you want us to record that one? It's
always the same ballet..." They understand that a recording of, say, "Le Bolero"
conducted by Boulez is not the same as one conducted by Celibidache (sp?),
but for some reason they don't understand it for ballet.
(And Giannina, thanks for your comments about "Le Corsaire").
Posted 09 February 1999 - 11:58 AM
Posted 09 February 1999 - 11:35 PM
Since I've already posted on a.a.b., I won't add much here other than to say I had a ball at the two performances I attended. "Le Corsaire" is a silly, lightweight story to a trite (if lively) score. But the focus here is on splashy, spectacular dancing, and with no real characters or mood to betray, the dancers are free to show off all they can. Gianinna felt that at times it was "too much," but I was thrilled to sit back and let these dancers show me "what they got."
(NextStage was also at those performances; maybe we can persuade Next to comment, too.)
What I didn't mention on a.a.b. (A Ballet Alert! Exclusive!) was that on Sunday, just before the performance, I observed company class. What a treat that was! Since the class ended a half hour before the performance, some of the dancers (Malakhov, Kent, Herrera) were in make up.
Most of my attention during the barre was focused on soloist Veronica Lynn, who was directly in front of me. My word, but she is gorgeous! Tall and elegant and flexible, it was amazing to watch her working and paying attention to the small details. She would come out of a stunning port de bras and go to releve', letting go of the barre and holding her balance, then, SO slowly and deliberately, lower her foot back to fifth maintaining proper placement throughout. It was a beautiful sight.
Just behind her her and to the right were two young corps members I couldn't name, who were also impressive.
During the center work, I had an opportunity to notice Angel Corella's sister Carmen (you can't miss the resemblance). Turning must be genetic; when the women were doing fouettes, they dropped out one by one as they reached their limit, but Carmen just kept right on turning until the music stopped. She gave the impression she could keep on doing them forever. She even got a hand from the dancers.
I love to watch dancers working as much as I love watching them perform. There is something magical about seeing them, not on stage in character and in costume and under the stage lights, but as people working hard on their craft. The wonders they work with their bodies are all the more impressive up close.
Posted 10 February 1999 - 12:43 AM
Giannina, is the Russian National Ballet there yet? Is it doing Sleeping Beauty?
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