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aubri

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About aubri

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  1. La Scala Style

    I have danced extensively in Italy and alla Scala also and what I would say about Italians is that the school there, is what I would call a very classical training that you can find in different European countries, but one thing is sure, is that I would call it the school of passion, because when they go on stage, they give it all, I have danced there in the early 80's and the level of dancing was not the best beside few like, Oriella dorella, Renata Calderini, among the young one and Luciana Savignano, Carla Fracci, Anna Razzi among others but on stage it was always an explosion of emotions and that waht I loved most in Italy and I was always excited to dance with them, it helped me to express myself better and be a better performer.
  2. and active was also Yvette Chauvire, I saw her last performance of Gisell when I was at the school
  3. Raymond will be missed, I remember when I was taking his class, everybody would be there, at 11 am, Misha, Rudy, Natalia all the big one and I was watching with big eyes, and I finally was allowed to take that class I would be behind Rudy (who would arrive always late ) I started there taking the night class because during the day I was at POB. You could see all the dancers from all over the world there, it was for me almost better than the show, I could also learn a lot from watching them take class. Raymond's classes were amazing and I missed him when I moved away from Paris, but every time, until he moved to the south, I would be in Paris I would take his class in cite Veron. A piece of French Ballet history has left us, we will remember him foundly.
  4. Sylvia

    I have to warn you that it was a controversy last year and I would suggest that you choose another variation and I think that the Grand Prix should take it out of it's list;)
  5. Sylvia

    Sylvia the Balanchine version is not public domain and you must go through the Balanchine Trust to ask for the rights.
  6. Who are the great ballerinas today?

    I will have to agree with Glebb and she has not changed since you left midtown Glebb
  7. Meunier @ City Center

    it's a shame as I went last night and saw Symphony in C without her, I loved Stanton Welch's piece and of course the cast was great, I don't think the addition of the girl was necessary but anyway, Joaquin De Luz was really standing out and Angel Corella was really good. Grand Pas Classique. Well Jose Manuel Carreno was suppose to perform and was replaced by David Hallberg, a corp member. Gillian Murphy perfomed very nicely but didn't seem at ease with the Adagio part which I will blame on the change of partner, but I still think she's not quite righ for the part. David Hallberg has exceptional legs, and feet to die for, but his perfomance was very weak, and I will blame it on the change of casting, I never saw him dance before. Sylvia Pas de Deux danced by Paloma Herrera and Marcelo Gomez was a delight and the adagio was flawless, Paloma was great in her variations, Marcelo presence was really nice but the take off of his tour en l'air was surprinsingly bad, he was taking off body facing audience and fifth facing the wings . Symphony in C, Monique was replace by Xiomara Reyes and I was extremely disappointed in her performance. And I was disappointed also with the rest of the cast. It was quite bad, the only one in the principal parts that I liked was Michele Wiles, she was dancing the Fourth Movement. So it was not the best evening for ABT as far as I am concerned, I have seen much much much better, thank god. I f this had been my first time I would think that it is a bad company, and I cannot blame it on the end of a long run, it was only the second night.
  8. Quick Question

    You always refer to a ballerina as a miss, even after several weddings.....
  9. First I will answer to Leigh: When I first came to America I joined the Joffrey Ballet and I didn't need to change my training because the classes were taught by Scott Barnard and were strict and classical. When I joined New York City Ballet I stepped into the twilight zone because I heard and saw things that my teacher told me not to do for years, so yes there I had to change my training drastically. To answer Victoria, you named wondeful dancers that evidently to me doesn't represent the "American dancers" since that half of them are not American trained. Remember my post, I wrote that there is a lot of American dancers that are classicaly trained and that they would blend with European dancers with no problem. However I speak from a European point of view, and we see the American dancer as trained in the Balanchine style. I could name dozen of them, but the balnchine style is predominant in America. PS: Thank god there is other schools that teach the old technique, otherwise who would feed SAB and the ranks of NYCB:)
  10. Very interesting, I don't think as a European dancer or a American dancer so much, but of course the influence of Balanchine in the american ballet scene is obvious, and that, would be what I would categorize as an american dancer, I can tell right away if you come from SAB or if you teacher teach you the Balanchine style, but I know a lot of American dancers that have been taught the classical way and you wouldn't be able to tell that they are American or European. The only difference is that in Europe nobody teach the Balanchine style and that in America it is a style that is becoming the American school. There is of course certain small differences between the Europeans and the Americans in the classcal training but they are very small.
  11. Well then if it's meant to be Dance"in America" why not show other compnies than the "big ones' and expand our horizons?
  12. I do not know if they do, but a lot of their programs with American Companies are actually shot in Arrhus, Denmark, so why not include european companies. Also they could do specials on companies visiting the USA
  13. Arent' you tired to see and request the same all things,what I would love to see is more of those company and choreographer from Europe, and I am not talking about Frankfurt Ballet, but smaller company, do some research and open your horizon. I would like to see new stuff, not only movement but a company and choreographer that use the "theatre dimension" something a little more theatrical, not always the same boring class exercise that we put together and end up calling 'A ballet". We rarely see Nederland dans theatre, Cullberg Ballet etc. Always NYCB, as good as they are, frankly, I am overdosing.
  14. Well I think SAB can be proud of it's crop, the only problem is that SAB doesn't form the pupils but take most of them already formed by other school. I thought myself that the women were not the best, I have seen stronger years, but I would not compare their upper body from the one from SAB. The repertoire they presented was a ballet from J Taras which is very Balanchine influenced, and a Balanchine ballet and then the last piece was also very balanchinian so actually it is good that their upper body were not too classical, nobody speaks of the wonderful performance of the Bejart Piece. And i do not think they have anything to envy from the SAB foot work, all the contrary. Hopefully the coming crop of girls will better, but it's like wine, you have good year and you have bad ones. ;)
  15. Foyer de la Danse

    Hi Glebb, I have seen this room and spent every morning for a year taking ballet classes there, My teacher was Lucien Duthoit, and there is Painting of all the ballerina and it surrounds the ceilings. It is a beautifule room that is recked on the opposite direction than the stage a little like that ^. We initiate the Defile in that room, the entire school and company is packed in there, we start withe the smallest girl from the school, when I was there Corinne Obadia use to start, then the ladies of the corps and so on and so forth, it usually stops with the oldest male Etoile.
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