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  2. Swan Lake, February 2-3 and 8-11

    Link to the Swan Lake page: scroll to the bottom for full casting. (I had to clear my cache to see it, as I'm stalking the site to learn the second weekend schedule.) https://www.pnb.org/season/17-18/swan-lake/ Link to downloadable spreadsheet: Swan Lake 18_01_23.xlsx Matinees start at 1pm!
  3. Romeo & Juliet Live Cinecast of 21st January

    I know, I know -- but those first act tights (with the windowpane check shorts painted on) -- it's almost as good as the Norwegian curling team!
  4. Today
  5. Swan Lake, February 2-3 and 8-11

    Full casting for the first weekend is up on the website -- lots of changes in many of the roles.
  6. Romeo & Juliet Live Cinecast of 21st January

    But you know he's going to get himself killed sooner than later.
  7. Romeo & Juliet Live Cinecast of 21st January

    I'm the Mercutio fangirl.
  8. It looks very much like Millicent Hodson's drawings for Nijinsky's Rite of Spring, or Remy Charlip's Air Mail Dances. Hodson uses drawings to clarify her work -- they're not designed to record the work for others to reconstruct. Charlip would often use drawings to give dancers a basic script for a dance that they would be able to interpret rather than replicate. Looking online for an example of Charlip's drawing I came across this article on dance notation -- as an occasional notator and reconstructer from notation, I take exception to Kirstein's dismissal of the practice, but I agree with the author that notation can be a jumping off point as well as a recording.
  9. Romeo & Juliet Live Cinecast of 21st January

    That's excellent news -- many thanks for the link! I agree about Biktimorov's Tybalt.
  10. I had to miss the Romeo and Juliet broadcast Sunday and was pleased to learn that the Bolshoi has put it up on their website -- I don't know for how long. Allowing that my reaction to stagings of Prokofiev's score are mixed -- it's a dramatic, engaging score, but as Helene has written, it just seems long and, I would add, to generate ballets that aren't able to transcend the 'too longness,' but just reproduce it -- Ratmansky's version still has any number of elements I like and even like a lot including some of the complex Ratmansky-esque details in the choreography for the leads. And the ending: I find it very moving to see the two families reconcile at the end. (That's in several other productions, too, I know.) I also liked the dancers including Krysanova and Lantratov. (Though I must admit that if it weren't for his being a murderous bully, I think I would sooner kill myself over Biktimorov's Tybalt than Lantratov's Romeo.) I thought Krysanova danced with great freedom and fierceness which I liked a lot. Here is the link--you have to register, but that's not hard: http://media.bolshoi.ru/play/
  11. Ballet choreography is normally transmitted from person to person through demonstration and verbal descriptions. Some dancers make notes and diagrams to help remember the steps for a role. Marie-Agnès Gillot recently posted this diagram of the soloist's choreography from Béjart's Boléro (which she will be performing February 24, 27 and March 1/4/18): https://www.instagram.com/p/BeS85BVh_yF/?taken-by=marieagnesgillot I wonder who the original author of this chart is, and if this has been used in the past by POB soloists?
  12. Those Diamond Earrings

    Perusing the internet for ballet images as I so often do, I encountered a fascinating image whose inscription reads: "Maya Plisetskaya giving Alina (Somova, of course) her diamond earrings after a performance of The Little Humpbacked Horse". How I remain riveted to this photo ! What a thrill it must have been for this young artist to have received such a gift from the hands of a master ! It's one of those off-stage moments that is, for me, a thing of pure inspiration. I wonder if anyone out there on Ballet Alert can recall a similar ballet moment that they also treasure as I do this timeless encounter between these two wonderful ladies?
  13. Thank you both. I would be happy to pay full price to see Naghdi dance a major role. I will ask the box office and hope for the best.
  14. Winter 2018

    I agree. Im looking at the principal dancers in the playbill and we currently have 14 men to 9 women. It seems likely that the company will be looking to promote ballerinas in the near future. I don’t think it’s in any of the female soloists’ best interest to get complacent just because there’s no permanent AD if they’re gunning for a promotion.
  15. 2017-2018 season: Washington Ballet

    The Washington Ballet does not typically publicly announce casting in advance although their playbills include the casting for each performance in that program. Sandi K suggests a great idea--I wish I had thought that of when I was in DC!
  16. Yesterday
  17. SFB 2018: Sleeping Beauty

    I assume so, but I don't have any experience with student matinees. I found this student matinee description on the SFB website: Each educational 75-minute interactive program includes: An introduction to ballet as an art form Performances by SF Ballet professional dancers and pre-professional Trainees from the SF Ballet School, accompanied by the SF Ballet Orchestra Excerpts of some of the Company’s most extraordinary works Insights into the career of a professional dancer with SF Ballet More great opportunities for the young ones. But I wonder if Tomasson is also trying to figure out how to spare the principals from overwork and injury. Somehow everyone has to make it through the end of the Unbound Festival.
  18. 2018 Met Season

    Thank you all for doing all that work for me and finding out the on-sale date. I feel like a lazybones, but I'm grateful.
  19. 2018 Met Season

    No, sorry -- I corrected my original post. It's Sunday, March 25. I've never thought to use it either, but it was a nice change from sitting on hold for a box office person!
  20. 2018 Met Season

    Thank you! It didn't occur to me to try that. Assume that was Sunday, March 18?
  21. 2018 Met Season

    I used the live chat feature on the Met's website, and the customer service representative told me they go on sale Sunday, March 25.
  22. Winter 2018

    About the programming, absolutely! Perhaps some plans were already in place for next year? Doubtlessly, a “sense of competitiveness” versus the right person(s), for the proper reasons may inure to the benefit of everyone—performers and audience members alike. Short of risking serious injury to one’s self or another (simply falling down is another matter), go for broke, “dancing on the edge of a volcano,” “like there’s no tomorrow” performances should be the aim of all serious artists of the company. I, furthermore, believe that these individuals are motivated to pursue excellence, no matter what the circumstances. Regarding specifically the situation of the female soloists in the company— There are twelve of them: some are shoo-ins for promotion, some are unlikely to be promoted, and some are situated in a gray area between. In my opinion, it would be a grave error for those who are favored to grow complacent, or be overly cautious or lax in their efforts—whether an artistic director is observing them from the wings or not. Finally, I can certainly understand why someone would want to be promoted. However, for a whole variety of reasons not everyone is cut out for principal, or even soloist status. And no shame should be associated with remaining in the corps! The contributions, for example, of dancers like Likolani Brown, Marika Anderson, Jenelle Manzi, Mary Elizabeth Sell, Meagan Mann and Lydia Wellington during the past few years have been invaluable!
  23. Winter 2018

    Even though I am “acutely disappointed” that Tiler Peck will not be performing in Divertimento, it is simply unreasonable to complain about Ashley Bouder. Making allowances for the general qualification I previously expressed about casting, the second week of the season looks fantastic too. (It is surprising, however, that Sterling Hyltin is not listed for anything.) Given its cast and title, I don’t believe I have ever been as curious about an upcoming NYCB premiere as I am about Peter Walker’s dance odyssey. Although I am open-minded about the four new ballets presented in the fall, it is appropriate that they will be performed in two different programs … and even seasons. (For various reasons I prefer Not Our Fate and Pulcinella Variations, but I also wish to see The Wind Still Brings and Composer’s Holiday again.) Since there are so many talented individuals in the current NYCB roster, there are casting felicities in every forthcoming performance. Even so, the January 27, Saturday matinee is especially fascinating. One of my favorite performances last spring was Rebecca Krohn’s in The Decalogue. It will be interesting to see who is cast in that role during the last couple of weeks of the season.
  24. 2018 Met Season

    Not a full-length, but he's also still listed for two Firebirds (which I couldn't stomach sitting through ever again).
  25. 2018 Met Season

    No disagreement here! I'm also planning to go to the first three days of Cuba, then train to NYC to see the SAB workshop, 1 or 2 Bayaderes (Teuscher-Ahn-Trenary looks promising), an NYCB Coppelia, the NYCB season closer (all-Balanchine!) and the premiere of Harlequinade. In May, the Osipova-Hallberg Giselle, maybe the Bolle Giselle (especially if it turns out to be his retirement), but otherwise Robbins week at NYCB. I wouldn't mind seeing Cornejo or Simkin, but they aren't worth a special trip at this point.
  26. 2018 Met Season

    Going back quite a few years, they go on sale on a Sunday morning and they seem to try to avoid Easter. So the best guess is Sunday, March 25 - at least that's what I have on my personal calendar! Sometimes the Met ticketing site has that information, but I can't find anything (yet).
  27. 2018 Met Season

    This season is just disappointing. With the cost of the tickets and travel from DC for me, I’ll only make it to 3 performances including one I have mixed feelings about (Seo in Giselle but I can’t miss Bolle!). No regrets on anything else though - I had to weed through performances with Copeland to find one Don Q with Cornejo, so I’ll only see him once anyway. Thankfully the Cuban ballet is coming to DC!
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