ABT's Tchaikovsky Spectacular 6/12
Posted 15 June 2001 - 09:18 AM
Please join in the discussion and tell us what and why you liked it so that there is another perspective to be had.
Manhattnik, actually Woetzel's double to double might not be harder for him than double to single, depending on the momentum of his tours, like the women who say throwing in a double foutte is actually easier than a single for them. Coming out of the double tour into a double pirouette may mean he can maintain a consistent force, rather than having to slow down.
[ 06-15-2001: Message edited by: Leigh Witchel ]
Posted 15 June 2001 - 09:39 AM
Posted 15 June 2001 - 11:17 AM
To answer -- I like the music, the costumes, the ambience of being with an enthusiastic audience. I've seen Kent, Corella, Jaffe, Tuttle, Bocca several times and never can find fault. They always please me. I don't count their turns or the angles of their limbs, and if I did that would not I miss the overall effect of their performance? Ideally, I suppose, I ought to be able to do both. Well, I'll work on it - I'm going to Saratoga next month.
Posted 15 June 2001 - 12:33 PM
The more you see, the more nuance you will recognize, the more you will learn what pleases you, what leaves you cold.
Art is nothing if it doesn't touch you. You aren't going to love everything you see, although the more you see, the better /wider your field of comparison, of course.
I am the only person in the world who absolutely LOVES the new Royal Ballet Sleeping Beauty production, amid the general boo-hiss on both sides of the Atlantic. Do I care a jot? I can tell you in exhaustive detail, scene by scene, why I love this production, discuss the literary and artistic allusion, etc. , etc. and so forth. (But I won't!)
Keep watching, keep an open mind, and see you in Saratoga next month.....
Posted 15 June 2001 - 09:50 PM
We all see things others may otherwise overlook and vice versa.
I can't wait to see Tchaikovsky Spectacular next Friday.
Posted 15 June 2001 - 11:26 PM
I didn't mean to be a downer, I just don't like the choreography changed. I've been reading about how Petipa ballets used to look and I don't want in 10-20 years for people to watch a Balanchine ballet and think, "Well, what was so special about that." So when I saw changes, a red light went off for me.
But I did enjoy things Wednesday afternoon. Jaffe and Malakhov were very musical. I agree with ATM about Malakhov not getting the credit he deserved for his sensitive dancing. And even out of context, the Sleeping Beauty portions were done well, and a pleasure to watch (even though I don't like the McMillian choreography). Just to show how nuts I am, I'm going to this program two more times.
Juliet -- I like the Royal's new SB too.
Posted 16 June 2001 - 10:35 AM
Seriously, the important thing is that you enjoy what you see. All of the dancers at ABT (well, most of them) perform at a very high level, and I think when posters here complain about something or other, they're talking about very, very fine points of style, technique or interpretation.
I do remember it was quite a shock, and an education for me, back in the mid-seventies, after seeing a performance which I thought was wonderful (Kirkland in something or other, I think), to her the standing-room line cronies (this was back when you HAD to get in line early for the ballet) at the Met go on and on about how awful it was -- she was weak, she was off the music, she was a crazy drug addict (oops, we didn't know that at the time!)....
Anyway, the experience did teach me to look at performances a bit more critically, and to think about whether, and to what degree, I should really buy what a dancer or choreographer is selling, and to what degree. It's certainly not the only way to look at a performance, and sometimes I wish I could go back to the times when it was all wonderful and new and just washed right over me.
Leigh, I see your point about carrying momentum in double pirouettes, but I think the key word in what you said is "for him." If it really were easier for your average Joe Principal Dancer to do that combination, don't you think they'd all do it?
Malakhov was indeed wonderful as the purple-boots Von Rothbart last night in Swan Lake. I don't understand why he's dancing so seldom, and then only in secondary roles. True, ABT has many fine men, but Malakhov is one of the very finest.
Posted 16 June 2001 - 04:13 PM
Posted 17 June 2001 - 02:38 AM
Posted 17 June 2001 - 02:57 AM
On the other hand, it could just be a matter of casting and who looks good with who. Dvorevenko has been used a lot this season (with reason) and she's usually paired with her husband. Nina A dances with either Bocca or Carreno, who also partners Jaffe and sometimes Herrera. Gomes is a guy on the rise and is getting a lot of the lead roles that require splashy technique. Plus Stiefel and Corella get many of the first nights with Kent. Malakhov has been dancing a lot with McKerrow, but her career is winding down. I believe some have said she is retiring soon. And Ferri is on maternity leave, so several factors could be weighing on the roles VM is getting.
Posted 17 June 2001 - 12:16 PM
I agree with Dale, though, that I don't think his dancing of secondary roles is meant to be a reflection on how the company views his talents, but more likely of his desire to try different things. Dowell did something similar, dancing Lescaut instead of Des Grieux, Mercutio instead of Romeo, etc., for a time.
[ 06-17-2001: Message edited by: alexandra ]
Posted 17 June 2001 - 02:22 PM
P.S. I am delighted to hear about the response he received in Russia -- in my opinion very deserved. He did, perhaps, at one time jump a little more dazzlingly than he does now, but his leaps remain just beautiful. He's just a complete artist in a way very few male dancers today are...
Posted 17 June 2001 - 06:26 PM
Originally posted by Drew:
He's just a complete artist in a way very few male dancers today are...
Posted 24 June 2001 - 08:05 AM
Posted 24 June 2001 - 02:50 PM
Corella must've seen that video sometime on Saturday, because when he dance Tchai Pas Friday night with Herrera, he didn't do the hops.
And, Dale, I'm not sure what you meant by Corella adding extra leaps at the very end of the coda. I watched for this, and all he did was what the guy's supposed to do -- a really big assemble in which he doesn't seem to land until after the ballerina's launched herself into her headfirst dive into the fish position. It's supposed to look very melodramatic, like she's throwing herself off a cliff, almost, and then her partner is there to catch her at the last possible second.
I remember Martins always left out the assemble and just sort of sauntered along behind Farrell, which always killed the ending of the ballet for me.
I must add that Friday night's "Spectacular" was a very, very satisfying night at the ballet. I'll write in more detail soon, but I must admire the depth of a company that can field so many brilliant dancers and perform so many ballets so magnificently. Kent and Malakhov in Sleeping Beauty were to die for, and Cornejo's Bluebird reminded me of Soloviev!
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