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About canbelto

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  1. 2017-2018 season

    I think another issue is that Corella unfortunately has acquired a reputation for firing dancers en masse, and also making it clear that he wants the company to head in the direction of dancing full-length classics. There's nothing wrong in molding the company to your vision but some of the instagram videos look like auditions for a YAGP gala.
  2. 2018 Met Season

    Wed matinee is fine if she also got an evening slot. But for the vast majority of the working folk, Wed matinees are no-gos.
  3. 2017-2018 season

    Angel was a delightful dancer with a wonderfully boyish persona and a radiant stage persona. Part of this was his appearance -- his huge eyes and smile was just made for the stage. But the PA Ballet dancers' instagrams almost seem to be auditions -- lots of class footage of how many tricks they can do. This is one example. It's impressive but that urge to squeeze an extra revolution prevented him from ending the pirouettes in fifth position which IMO would have been more aesthetically pleasing.
  4. 2018 Met Season

    I'm afraid I wasn't very enthusiastic about Lane's Swan Lake. I can understand them not giving an O/O. However giving her a Wed matinee Giselle is incomprehensible -- she was one of the finest Giselles I ever saw, period. And Juliet is a role that's practically screaming her name.
  5. I think Laura Cappelle (and many other writers) no doubt wanted to celebrate the fact that the reconstructions were being done at all after being banished to the dustbins so many years ago? And that the FT usually has very short arts reviews where a litany of complaints would run out of print space? And also, in general, for performance reviews as well as life most readers don't like to read a review that "cannot stop complaining."
  6. 2018 Met Season

    The coaching staff has gotten really depleted as well. Irina Kolpakova seems to be an 84 year old energizer bunny, but Victor Barbee left along with Julie Kent, and Alexei Ratmansky closely supervises his own ballets and does intensive coaching with them but for the regular bread-and-butter repertoire who is there to coach the dancers? One wonders.
  7. 2018 Met Season

    Brandt stepped in last year on short notice and was a wonderful Medora in Le Corsaire. Really disappointed that she didn't get a Kitri this year.
  8. 2018 Met Season

    I think the issue is that NONE of the ABT's roster right now is "young." Even the newly promoted principals (Devon, Christine, and Sarah) were longtime corps members/soloists. ABT's extremely structured way of casting and limited repertoire for their Met season makes it harder to develop dancers in the pipeline. Even Ratmansky can't seem to upend the rigid way ABT casts. For instance I was sure that Skylar Brandt (a favorite of his that he's been developing for several seasons) would get cast in Harlequinade but that didn't happen.
  9. 2017-2018 season

    I follow some of the PA Ballet dancers on social media and agree that it seems as if the way to get cast is to dance very much like Corella himself danced: lots of bravura tricks and endless pirouettes a la seconde. It seems very exciting but I'm curious how they do with, say, Jewels later this season.
  10. 2018 Met Season

    Marcelo Gomes. She had a really rough time with the Giselle Act 1 variation and had to put her other foot down and never really made it more than a few feet across the stage.
  11. 2018 Met Season

    Well to be honest the last few times I've seen Abrera she's still a lovely dancer but I do see a decline in technique. Her Giselle last season was a lot shakier than I expected.
  12. 2017-2018 season

    Thanks for the reports! I had wanted to see this but don't think I'll have time.
  13. Clips have surfaced on YT:
  14. Gia Kourlas on race in Agon

    I can't find the exact quote (I think it was in a book) but there are several articles where Mitchell talks at length about the support he received from Balanchine: https://www.salon.com/1999/06/29/mitchell/ https://www.nytimes.com/2018/01/05/arts/dance/arthur-mitchell-harlem-ballet-lenfest-center.html This quote stood out:
  15. Gia Kourlas on race in Agon

    Well ... Balanchine cared enough to stipulate that if the company was touring to any city and the city would not welcome Mitchell in their hotels/restaurants then the company would simply not tour there. So while he might not have been a vocal civil rights activist I think he did push Mitchell very aggressively as one of the company's stars and in those times, that was quite bold.