kfw

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About kfw

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

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  1. I wish I could remember. FWIW, she's listed third. Is there a standard procedure for listing the leads in that ballet?
  2. Checking my programs, I see she was in Serenade on the first night of the Balanchine program, and danced Terpsichore and the second movement of Symphony in C the next night.
  3. Macaulay posted a ton of photos on Instagram this morning (alas, nothing of what was said).
  4. Right, and that shouldn't need explaining. Further, "fake news" has become a propaganda term, which is to say one which obscures the truth. Calling something fake suggests it was made to look like the real thing. It’s to imply not just that something is false, but that there was intention to falsify. Everyone makes mistakes, critics included. Making a mistake and falsifying are two very different things.
  5. As a point of logic, what it shows is that people disagree about that bias, and whether there was or might have been bias in this case in particular - not who is correct about it.
  6. There weren't even other black dancers eligible for those roles. Every single dancer she was competing against was non-black, isn't that right? She was outnumbered, but she still sees the outcome as racial. Pity the other dancers who didn't get the role Copeland wanted either, who lacked her convenient scapegoat.
  7. I couldn't get any sound, so I watched Theme and Variations while continuing to listen to the Vijay Ijer Sextet in a livestream from the Ojai festival for contemporary classical music in California. The dancers were lovely but they were waaay off the music.
  8. I agree about Hindemith, but not really about Times, Context matters, and in the context it was loud, although I loved it, especially the first section, and the volume suited the choreography. "Lightweight" might be an apt description, but at least as a one-off I found it winning. I know the company and the Center want to appeal to young adults, as Deacon's score undoubtedly does, but I feel for the patrons who were unpleasantly surprised.
  9. Agreed, with the difference that Wheeldon is no Balanchine (and Who Cares? is far from one of may favorites Balanchines). But if you loved it, more power to you.
  10. Thanks a lot, Imspear. I was planning on skipping the company's visit this year because there was so little Balanchine, but we had to be in Herndon in the morning anyhow, so I picked up discount seats for the matinee. Wheeldon's piece left me cold, Rhapsody in Blue notwithstanding, but then Broadway's not my thing. The Four Temperaments received a mostly strong performance, I thought, and it's a big favorite, but I've sometimes been disappointed. I had no/low expectations for the Peck but though it was great fun, especially with that thunderous score. I do feel sorry for the two elderly couples in the orchestra we saw leaving - and we were halfway down the floor so there may have been more. They must have hated the loud contemporary music, and there was nothing in the program or in the marketing, at least that I saw, to prepare them for it. The Hindemith score can't be everyone's cup of tea either, as great as it is. There was no typically lovely classical music to be heard this afternoon, but that was fine with me.
  11. Well put, Jack. And even though his Instagram page identifies him as the Times critic, he's not writing for the Times on that page. Anyone can make a mistake.
  12. Another way is to see the company at the Kennedy Center. Tickets for the January 30 open rehearsal are $15 and go on sale tomorrow, May 31.
  13. Agreed about the "ton." And if the artists need financial support, and their music needs support because it hasn't already found its largest possible audience, it has a place at the Kennedy Center in my opinion. There may be some hip-hop that fits that bill, but I'd be surprised.
  14. Pandering to people who don't appreciate the Center's core offerings. Sandik, no doubt a few people buy tickets just because they're there and see something advertised. Beyond that, it would be nice to think that this kind of outreach makes a significant difference. I know some creative artists in the fields of jazz, dance and drama are using and/or being influenced by hip-hop. Naturally. And I see a couple of upcoming Center programs that fit the bill. The breakdance contest they had last fall does not, and could have found another venue. I also remember the hip hop the NYCB ballet audience was forced to hear between acts of Jewels a couple of years ago. That was a rude way to treat paying customers.