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Everything posted by cargill

  1. cargill

    "Harlequinade" 2018.

    Maybe she changed for the curtain calls! I definitely remember a dress with colorful splotches at the beginning of Act II.
  2. cargill

    "Harlequinade" 2018.

    It looks like they are using the first act Bonne Fee costume now for the finale--I saw it the first two nights and she had changed for the second act into something more colorful, though I didn't think it was quite as elegant as the first act one.
  3. cargill

    "Harlequinade" 2018.

    Everyone had hats and they were gorgeous! Especially Boylston's in Act I. I loved that the hats were part of the choreography, bobbing around.
  4. cargill

    The Lilac Fairy

    As I recall from the Maryinsky reconstruction, Nikiya was certainly in character shoes in the first scene, and point shoes in the shades. I actually don't remember if she was in character shoes other times, but I do remember she did the sad little dance before the poison flower trick carrying a vina (a sort of a guitar). There are some vestigal gestures sometimes now in that solo , but I guess carrying something would make the modern show-off balances too tricky,
  5. cargill

    The Lilac Fairy

    I do so love the variety of those older dances. Nikiya was in character shoes in Bayadere's first act too, so there was so much more contrast between it and the shades scene.
  6. cargill

    The Lilac Fairy

    I think that the Sergeyev notations have Lilac in a tutu for the Prologue (there are notated dances for her) and then in heeled shoes and a longer gown in the vision scene.
  7. cargill

    ABT 2018 La Bayadere

    I don't necessarily agree that the Shades solos should be corps roles. When the Royal Ballet first did the Nureyev Shades version, often principals danced the shades (at that time, they also often danced the Sleeping Beauty fairies, too). Roles like that are as big or as small as a dancer can make them.
  8. cargill

    Coppelia 2018.

    In some Coppelias, the Doctor is present at the wedding and Swanhilda apologizes to him, which I think works very well, as it includes him and shows that Swanhilda has changed. ABT does it that way, as I recall, and they use a version set by Freddie Franklin, who knew an older version. I have never seen the Royal Ballet's version, which was based one set by Sergeyev, so I don't know if that happens, but it should!
  9. cargill

    ABT 2018 Firebird / AFTERITE

    I find the ending more gratuitous than shocking. I would feel the same way about the piece if Ferri and Cornejo and the two little girls walked off into the sunset petting bunnies. For the me choreography was so unmusical, jerky, and overwrought, making the dancers look ugly for no apparent reason than to signify "this is not your mother's ballet", like a boy writing naughty words on a wall, just to feel important.
  10. cargill

    ABT 2018 Firebird / AFTERITE

    For me, the issue isn't the topic so much, it is the way it was treated. Ballets like Echoing of Trumpets and Les Noces (Nijinska's version, please!) are certainly bleak and uncompromising, but the subjects weren't used gratuitously, and the choreography used form and shapes expressively. AfterRite and certainly some of MacMillan use violence as a decoration, and seem to revel in it.
  11. cargill

    ABT 2018 Giselle

    Sorry if I wasn't clear--I didn't see the performance and wasn't talking about it specifically. I just meant that I thought the word stingy to descripe a less than perfect arabesque was a wonderful description. Mary
  12. cargill

    ABT 2018 Giselle

    I agree. Stingy is a perfect word and I wish I had thought of it! Mary
  13. cargill

    Winter 2018

    I actually really enjoyed The Unanswered Question. Loved the music, and the odd sets and costumes (I remember an old fashioned bicycle) seemed to fit the quirkiness. It was done orignally for the American Music Festival with some dancers from Feld's company (Buffy Miller rode the bicycle) and as I remember, it was one of Damian Woetzel's first major roles. It did come back a few years later and I saw it as often as I could, but I was certainly in the minority!
  14. cargill

    Royal Ballet Giselle

    Mashinka, I was at the Collier and Eagling R&J too. It was just stunning. I remember a picture of a curtain call in Dancing Times, and they were both had tears in their eyes.
  15. cargill

    Winter 2018

    It's from Peter Martins' "Barber Violin Concerto"--Mearns was part of the classical duo and Jared Angle was the modern male dancer.
  16. cargill

    Pavlova film

    For New Yorkers, the Film Forum is showing the Anna Pavlova film Dumb Girl of Portici on September 16th. http://filmforum.org/film/the-dumb-girl-of-portico-lois-weber-film
  17. cargill

    Jewels in The Economist

    The blog is called Prospero "An enchanting mix of literary insight and cultural commentary, in the spirit of the hero of “The Tempest”, which seems just a bit of a stretch!
  18. cargill

    Great dancers&great choreography

    I can't remember all the details, but there was a story of a mistress talking to an older man about a younger mistress, saying I am better looking, etc., etc., than she was, yet you can't forget her. What did she have that I don't? And he said "She had my youth". That's what I feel when I think of the dancers I saw in my 20's (Sibley, Dowell, Beriosova, etc.)
  19. cargill

    ABT 2017 Giselle

    I didn't see the Pacific Northwest Ballet version that tried to go back to the original French sources, unfortunately, but Doug Fullington has said that the original first act Giselle was quite spunky, not the one-foot-in-the-grave Gorey cartoon we sometimes see. (My words, not his!)
  20. cargill

    NYCB 2017-2018 Season

    When Robbins revived it in 1998 they used a recording, so maybe they will go back to that--not that I think they should, but it would be cheaper. Mary
  21. cargill

    Balanchine, Shakespeare and narrative

    I agree that Prodigal Son, Sonambula, etc. are good stories, but Balanchine didn't come up with them--he was given the libretti, and for Prodigal Son and Sonambula, also given the designs. I think he was much better at suggesting stories (or emotions), like the Rosenkavalier section or Liebeslieder than an actual story. Scotch Symphony, lovely though it is, really only makes poetic sense--who is the Scotch girl and why does she disappear, why do the male corps separate the sylph and the man who isn't called James at one moment and dance around with them another?
  22. cargill

    Balanchine, Shakespeare and narrative

    For me there are wonderful things in Balanchine's Midsummer, but as a cohesive work of art, I think Ashton's is better. It is certainly tighter, with the drama seamlessly taking place in one location, as the characters come and go. (For me, Balanchine's story can be summarized as "meanwhile, in another part of the forest, Oberon too was dancing.") There are so many little things that frustrate me about Balanchine's telling the story--for a start, why does Oberon have to mime the same words twice, with no variation? Who is the male dancer Titania does that wonderful dance with, and why is he there? Balanchine has Oberon dance a phenomenal scherzo, but it really has no relation to the plot, while Ashton's scherzo for Oberon is propels the story. Ashton's Bottom is so much richer than Balanchine's comic one, with that amazing scene when he remembers what happened--Grant used to make me cry. I think Ashton's dance for Bottom and Titania is more magical too. Balanchine goes for the comedy, with Titania and Bottom staring deadpan at the audience, very funny, yes, but Ashton has us see Bottom through Titania's eyes, and it's such a rueful, bittersweet moment--as I wrote about it once, who of us hasn't looked at a donkey and seen a prince. And wonderful though Balanchine's second act is, it really has no relation with the first one. It could be danced on its own and would make perfect sense. And I am probably a party of one, but I find that the little bugs rapidly exceed my cute quota. '
  23. cargill

    Marcelo Gomes

    Sarasota Ballet just sent out a press release saying that Gomes will be dancing the young man in Ashton's "Two Pigeons" Friday March 10 and Saturday night, March 11.
  24. I remember a friend, a real Balanchine uber alles type, being very upset when NYCB first did Sleeping Beauty, since she loathed story ballets. I wasn't that excited either, since I didn't think they would be able to dance it. We went to the first night, and loved every minute of it, especially the three Aurora solos, which looked very similar to the Royal Ballet ones I remembered. My friend was amazed--"They look just like Balanchine" she kept saying.