vagansmom

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About vagansmom

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    balletgoer, dancer's parent
  • City**
    CT

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  1. I remember that, BalletFan, and had the same thought at the time.
  2. Had Balanchine been alive in Ansanelli's time, she surely would have been his muse. I ache to see her dance again.
  3. Ansanelli was far and away my favorite ballerina during that period of the NYCB. I found her to be a most musical dancer. Interestingly, there was someone on Ballet Alert who followed every post of mine during that time with a post of his/her own informing me that she was the least musical dancer there! Since music was, for a very long time, my profession, I felt quite confident in my assertions. While at the Royal Ballet, Ansanelli continued to fight an injury. I've always believed that her unhappiness really stemmed as much from fear and worry about that injury as for any other reason, but that's me speaking with my pop-psyche hat on!
  4. I could never boo a performer for all the same reasons given by so many here. But, like Mashinka, I haven't applauded for a performer whom I felt was egregiously off the mark. Even then, I end up feeling badly because I wonder if the individual has something going on (illness, injury, or family strife, etc.) that could have impacted that performance.
  5. Based on the reports about how most of the dancers onstage after Part's final performance did not extend to her the same affection and, let's face it, respect as they did for Vishneva, I'd say that she and they are not good fits in terms of coaching. The relationship needs to be mutually respectful.
  6. Balanchine, the son of a composer, grew up studying ballet and music concurrently. After his studies at the Mariinsky, he spent three years studying music at the Petrograd State Conservatory of Music, so he was a professional musician as well as professional dancer. I don't think it's possible to have another Balanchine unless that individual has studied both music and dance to such high levels. To me, he is the Mozart of ballet.
  7. Me too. Thank you for telling us about it. Eleanor was my daughter's coach for many years.
  8. I was struck by Luciano Perrotto (they misspelled the final vowel of his last name) as well. What technique and charisma! Although he grew up in Argentina, I know he spent at least one summer and a full year toward the end of his training (age 17-ish) at the Rock School in PA.
  9. I don't know either, and I thought her classical performance was the weakest I've seen from her. Haven't yet viewed the modern. I also found the white ribbons highly distracting. When she first came out, I thought they were feathers and couldn't figure out how that went with her costume! Either that was a last minute fix for something that went wrong (am trying to figure out what that could be) or could it be she forgot to pancake them? I've never seen white ribbons sewn on the outside in addition to pink ribbons. Even if they were pink, they still gave an impression of being raggedy. Is there something I'm missing? Is that a thing?
  10. If I went to a ballet with loud music as described, I would end up in the doctor's office the next day because the noise would still be reverberating in one of my ears. And I'm not that old! So I'm glad to know about this ballet; I can avoid it in the future. Like many others my age (early 60's) who went to lots of rock concerts while young, my hearing is impaired. I don't expect to have to deal with that level of sound at the ballet. If that's where we're heading, I and lots of other older people will end up staying home. I don't find that earplugs work well enough. Have to protect what's left.
  11. She is a prima ballerina at ABT. As such, I think it would be degrading to not treat her as we do others, on the merits of her dancing. Why should she be treated any differently?
  12. I think I love this program most for the beautiful music it's brought back into my life. As I've gotten older, I've craved silence more than music, but this series reawakened my classical music senses. I found myself returning to Brahms and Mozart. Younger fans of the series say that it's introduced them for the first time to the beauty of classical music. The episode filmed at the prison brought me to tears.
  13. Wow, pherank, we are currently on a similar wave length! I've just finished rereading both Hiroshima and PT-109. Some of my high school students are currently studying the political 1940's, so I reread both of those books to refresh my memory. I agree that Hiroshima should be a mandatory read for mature students studying that period of history. Which book was about the Red Scare in Hollywood? A relative of mine was a victim of McArthy-ism, not in the entertainment field, but as a high-ranking Army personnel officer. He died of a heart attack during his trial, but it was fairly certain by nearly everybody that he would be acquitted. Richard Nixon was the leader of the attack against him. Henry Cabot Lodge, Jr. spoke in my uncle's defense. Coincidentally, I was visiting my aunt for a week when Nixon resigned: what emotions for her! Chills up and down my spine. Needless to say, I have a visceral connection to anything about that awful period in our nation's history. Let's not get into my strong feelings about the current political world.
  14. HI abatt, I think we are more in agreement than not. Like you, I wanted Finlay to dance in a more Broadway style because I felt that the classical style didn't suit the music. What I was excited about, however, was imagining him in other roles as this is the first time I've seen him dance and I can imagine him in more classical roles. I mentioned further down that I thought Ramasar was the only male dancer who suited the musical style. Sorry for not being clear enough.
  15. I attended the Rodgers: Broadway to Ballet performance last night. Recently, I have really felt the need for a light evening of entertainment and this did not disappoint. I was also psyched because my favorite female dancers were featured. We sat in the third ring and from my perspective, the house looked pretty full considering it was a Wednesday night. I couldn’t see directly below me, though, so I don’t know if the orchestra was full. Carousel: Tiler Peck and Zachary Catazaro started off the evening in Carousel. To me, a non-ballet dancer, Peck was perfection. This choreography moved briskly and Peck loves that kind of a challenge, so what a match! Her combination of musicality, fluidity, technique and ability to embrace the audience delighted me immeasurably. I am so thrilled that I’ve been able to make it into NYC lately to see her in multiple roles. I’m afraid I can’t speak to Catazaro’s performance because I couldn’t take my eyes off Peck. Thou Swell: Sterling Hyltin is, far and away, my favorite current dancer at any ballet company (well, I haven’t seen Alina Cojocaru lately). She embodies everything I look for in a dancer and I’m fairly certain she’s discovered the secret to anti-gravity. I know some people love tall female dancers, and while I am often brought to tears at their exquisitely beautiful adagio in story ballets like Swan Lake, I think that a shorter ballet dancer can be a more complete dancer. I swear every hair on Hyltin’s body is beautifully expressive and she’s the most musical and artistic of dancers (as a musician, that’s critical to me). She often reminds me of Gelsey Kirkland. My companion, who’d never seen Peck dance and was thrilled by her performance, said, after the evening was over, that Hyltin was also the highlight of the night for her. I was wowed by Chase Finlay despite wishing he were a little less classical in that particular role because I felt the music dictated otherwise. However, I was very excited to see him dance in person and thought he and Hyltin were mostly well-matched. I'm looking forward to seeing him in other roles. My happiest surprise was Rebecca Krohn. I’ve never seen her in a lead role. Her performance has made me determined to seek out tickets for ballets where she is featured. Krohn, a tall dancer, flowed with elegance and grace, with every inch of her body fully extended. She was striking in fuschia. What beautiful arms and legs! I found her mesmerizing and I am so delighted to have discovered the talent in her that so many other BAers have described. Her partner, Amar Ramasar, was the standout male dancer here, although that’s arguable since he didn’t get much solo time. But I thought he was the only male whose body expressed the music. I felt that the other men were perhaps a little stiffer, although I’m not sure that’s the word I should be using, (maybe I should say they were more classical). While they were excellent, especially Chase Finlay, I thought that the music called for Ramasar’s ease. How I wish he had a bigger role! Sara Mearns, as usual, was elegance personified. She delivered a very grounded, mature performance. Unfortunately, I don’t remember much about la Cour, but again, that’s because I love Mearns so much that my focus was all on her. The maids: Oh my gosh, who was the pert blonde dancer on the audience’s far left? She looked like she was having the time of her life. Sassy, cute with spot-on gestures. I want to see more of her: what a flair for comedy! And all lightness and sprightliness! Slaughter on 10th. Avenue: So much fun from start to finish! Kowroski and Angle were a delight. Big props to the policemen’s pratfalls. Altogether, a very happy night at the ballet.