Jump to content


  • Content count

  • Joined

  • Last visited

About Fosca

  • Rank

Registration Profile Information

  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
  • City**
  • State (US only)**, Country (Outside US only)**

Recent Profile Visitors

The recent visitors block is disabled and is not being shown to other users.

  1. The Malakhov galas at the Admiralspalast were not produced by the Staatsballett, but by Malakhov himself, so he would have to hire an orchestra which of course is too expensive for an event like this. His former galas at the opera house (when he was still director) had an orchestra, I'm not sure if all of them, but most of them. Galas produced by the big ballet companies normally have an orchestra, I don't know why there was none at "Polina and Friends". Try a Nijinsky gala at Hamburg for your money's worth - they last five hours minimum, with lots of guests, lots of Neumeier choreography, an orchestra and Neumeier speeches.
  2. Fosca

    John Neumeier

    There is a full-length ballet called "The Lady of the Camellias" made by John Neumeier in 1978. It has three long pdds for Marguerite and Armand, the first in a lilac dress, the second in white and the third in black. Lacarra danced the whole ballet when she was principal at Bavarian State Ballet Munich, mostly with Marlon Dino. There is, however, another full-length ballet called "The Lady of the Camellias" made by Val Canapiroli in 1994, which Lacarra also danced. Both works have music by Chopin. I think you can find excerpts of both works on Youtube. No Ivan, sorry.
  3. Most galas in Germany HAVE an orchestra, Neumeier's Nijinsky Galas at Hamburg, the Terpsichore Galas at Munich, the galas at Stuttgart: they all go out of their minds there to play everything that is possible live (not the electronic or pop music of course). The "Malakhov and Friends" galas at Berlin had an orchestra. I just saw a gala at Karlsruhe, a relatively small ballet company with 30 dancers, where everything was accompanied by the orchestra and an excellent pianist. They even invited a singer.
  4. Fosca

    Ratmansky's Paquita

    It will be back in November2018! The new director Johannes Öhman will throw out the Duato Nutcracker and restore the Burlaka/Medvedev production. https://www.staatsballett-berlin.de/en/spielplan/der-nussknacker/17-11-2018/808
  5. Fosca

    Ratmansky's Paquita

    Just for the record: the Munich newspapers all had the number of 29 dancers leaving in June 2016, maybe some 10 more in the next season. But 55 would have meant almost the whole company erased. It was a huge change in the roster, but let's stick to the facts.
  6. Yes, and there are lots of Aids galas to donate money to charities, but I hardly know about galas to raise money for the companies themselves, like in the US.
  7. As most theatres and ballet companies are state-subsidized in Europe, galas are not for fund-raising there. Tickets are more expensive, yes, but normally they sell out very fast. For the annual Nijinsky Gala at Hamburg Ballet, you even have to get in some kind of lottery to get tickets.
  8. Tetley's Sacre is on the programme at Prague's National Ballet this season, right now in February. The Korean National Ballet did it, La Scala did it one year ago, Stuttgart Ballet has it every few years. Stuttgart also did Tetley's Arena recently, Voluntaries and Pierrot Lunaire some years ago. Voluntaries was also at Dresden Semperoper Ballet. So Tetley is not forgotten, it seems Europe is his new home...
  9. Munich is a bit of an exception for ballet prices, which are rather cheap compared to the much higher opera ticket prices. At Hamburg or Stuttgart ballet is as expensive as opera or sometimes even more expensive. Which means best seats are at ca. 100 to 120 Euros. But you can get cheap seats in every German opera house/theatre, ranging from around 8 to 15 Euro. That's was the subsidies are meant for. Just for your information :-) Now back to Osipova!
  10. Fosca

    Onegin and Jewels

    The last pdd in Taming of the Shrew is one endless lift - over his head, on his shoulders, in front of his body... Petruchio really makes her fly, a very beautiful sign of his love for her after all the banter. Nobody recognizes that, everybody keeps complaining how women are treated in this ballet.
  11. Fosca

    Onegin and Jewels

    Cranko loved it when Haydée was in the air, that's why there are so many lifts in the ballets which he created for her - Onegin, Romeo, Taming. She says "He always saw me up there", and she was beautiful and expressive in the lifts, her arms, her face. It's hard for ballerinas sometimes to really fill these long flights with emotion, some just behave like in Petipa or Balanchine ballets. It won't look acrobatic if you know what it is about - Haydée was soaring...
  12. Fosca

    ABT 2017 Onegin

    Just a short information on the Rose designs: they are a question of budget, nothing else. If you want to have the original designs, he will come in person (turning 80 in 2017, he is still very much alive and kicking) and supervise the production. He is famous for his taste in fabrics and material, which also makes Neumeier's "Lady of the Camellias" a VERY expensive production, because Neumeier, other than Cranko heir Dieter Graefe, insists on keeping the original costumes and decor. Most European companies use the original designs for "Onegin", that's right, but not all - Berlin State Ballet has modern designs by Elizabeth Dalton. Also the Bolshoi chose the original designs when it staged Onegin some years ago. Rumours say that Jürgen Rose will do another story ballet production for Stuttgart in one of the next seasons.
  13. Fosca

    Onegin and Jewels

    That's interesting, I thought Barnes used the words first in a review for the first New York performances. Sure enough people jumped at the expression in Stuttgart :-) The company was invited only because some Russian company cancelled, I just don't remember which one. But even if Croce did not like it, the performances sold out in short time and Stuttgart was invited back - was Barnes' review considered more important at the time, or was it due to word of mouth?
  14. Fosca

    Onegin and Jewels

    At some points, Cranko relies heavily on Lavrovsky, for example in the ball scene in act 1, where the Capulet men hold cushions in their right hands, also the lift where Juliet kneels on Romeo's breast and bends down to kiss him - Cranko took it from the balcony pdd and put it in the wedding scene. There's a famous anecdote about Cranko's and MacMillan's Romeos, Jann Parry cites it in her MacMillan biography "Different Drummer": After a performance of MacMillan's Romeo, a spectator said to Cranko "I wish I had seen yours", and Cranko said "You just have". Both choreographers had seen the Bolshoi performances with Ulanova in London in 1956.
  15. Fosca

    Onegin and Jewels

    It seems that Cranko started to rework the ballet right after the premiere with subtle changes. I guess he did that sometimes or even often, adapting his steps for certain dancers, improving a scene etc. But the changes to Onegin were substantial, so they had a second premiere in 1967. The first "Onegin" received mixed reviews in Germany, a rather bad one by Horst Koegler, the most important critic at that time (who of course changed his opinion later). It was a time when certain music, certain books were thought to be not suitable for ballet - remember MacMillan with Mahler's "Song of the Earth" and Faurés "Requiem", which were both refused by the Royal Opera House (Mahler! and religious music!), so he did both for Stuttgart (where they were welcome). Such was the case for Pushkin's novel, it was thought to be too educated, too sophisticated to become a ballet. Balanchine hated the idea, if I remember correctly. It was also a problem at the time that the music for "Onegin" was compiled from different Tchaikovksy works. "Onegin" had a slow start, it was only in 1969 when Stuttgart toured to New York that Clive Barnes made it an overnight sensation with his words of the "ballet miracle".