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mom2

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  1. its the mom - I agree, it would have been great to see the Royal dancers partner with some from other companies. I did quite enjoy the cross-company partnerships that we did see. Imagine it is quite difficult to put everything together in a short period of time - at altitude I might add. I can't believe they did Tarantella - (gasp). A cardio challenge at the best of times.
  2. I attended both of the "international" evenings this weekend. Both evenings were wonderful - almost too much to take in! I loved the couple from the Royal - they were clear standouts for me. I also really enjoyed the new ensemble work evening II, and I always enjoy the movement of Lil Buck and colleague. Just read the review in the NYT, which doesn't mention Lil Buck, which is unfortunate. The opening number on Friday with the kids and Bill Irwin was also very special - what a great opportunity for the young ones! mom2
  3. 2016-17 season

    I believe kbarber was quoting the company's newsfeed - it was out last night on twitter and other social media. Congratulations to all.
  4. 2016-17 season

    I am not intending to suggest that Ms. Fischer is not talented. Indeed she is. It would still be my opinion that personal and professional growth might be facilitated for a young woman if she is not working under and with her parents on a regular basis. I would have this opinion regardless of field of work.
  5. 2016-17 season

    Re Streetcar - I don't know that I would call the performance emotionally flat in any way - it was just disturbingly graphic - even more so really when you consider that it's not a new ballet. I appreciate that Neumeier wanted to get people thinking, and I understand that art shouldn't always be "easy" or "pretty" - however this went, in my view, well beyond thought-provoking.
  6. 2016-17 season

    I did see Streetcar, I believe a brief comment above. Still taken aback by the violence, and wondering why anyone would want to choreograph that? My seat is near the front (Row F), so the enlarged stage not overly appreciated by those around me, especially those in front of me. A number of people moved. I feel that the NBOC should have forewarned patrons of this. I did think it was well danced and acted, but like you not sure I would want to see it again. Am also going to Swan Lake next week. It is not my favourite version but oh well. It's around this time of year when KK announces promotions, etc. Anyone heard anything yet?
  7. 2016-17 season

    I feel for her as well. Wonder if her casting was tied to Maddox's? Can't remember now. Certainly I do wonder sometimes if Hannah F. would be doing all the roles she's doing if her parents were not ballet master/mistress. She is a talented dancer, yes. Can't help but wonder. Honestly starting to regret that I've renewed my subscription. I cannot understand all the excitement over Binet - TWO of his works in the gala? Yesterday I saw Streetcar. Holy catfish batman, that was a lot of trauma and violence for an afternoon.
  8. 2016-17 season

    Thanks for this JumpFrog! I saw the show at the last performance. I enjoyed Genus but then I hadn't seen it before so couldn't compare it like you could. I agree with you on - does an intellectual theory make a good basis for dance question. I had a hard time seeing the connection with Darwin. Lindsay Fischer tried to explain/defend during the ballet talk - but I'm not sure that he was really sold on the connection either. I too loved Tarantella. In this show the male lead was Skylar Campbell, who was also superb. In fact he was in Genus too - so quite a day's work for him that day. Concert I enjoyed but not quite as much as I had hoped. There were a few mis-steps with timing (an action that was supposed to match with something from the percussion section) - too bad. I thought most of the dancers did well with the acting - the piece was enjoyable for me overall. Self and Soul - Binet did this piece for the Erik Bruhn competition (which I didn't attend this year), and the dancers I saw were the ones in the competition. So I enjoyed seeing them re-create their roles. I don't think there was anything special about this choreography other than maybe one lift. Personally I think that Binet has had the extraordinary good fortune to be able to work with dancers of such high calibre. I don't know that his young works would present half as well with other dancers.
  9. 2016-17 season

    Yes I did see Pinocchio (referenced above). As I said, not your typical afternoon/evening at the ballet. I was glad I went, but more because I got to see someone I've watched for a number of years in a lead role. Not what I would call classical ballet by any means, however. My daughter went the other night (she is a dancer, a much more critical eye than mine to be sure). She saw a different dancer as Pinocchio (Campbell), and thought he did very well. I had seen a props issue with the nose - this wasn't present in the show she saw. She liked some of the more creative aspects - like the screen projections (portraying the ocean, for example). I thought these went on a bit too long; she did not. We both agreed that the lumberjack scene at the beginning needs work. It's hard to describe - others are so much better with that than I am. Perhaps I can say it's more like a play without words that has some narration, and a fair bit of dancing.
  10. 2016-17 season

    I attended today's show. Very interesting - not your typical afternoon at the ballet, to be sure. Pinocchio was danced today by Robert Stephen, who I've had the pleasure of watching since he was a student. I'm sure that all lead men are wonderful in the role, but I feel I just have to give Mr. Stephen kudos for a wonderful performance! I can't imagine that anyone else could have embodied the part better.
  11. This is a very interesting development indeed. All the best to Mr. Maddox, though I admit that he was never my favourite to watch. So who to replace him? I agree about Campell's height. Partnering was something I felt he struggled with early on - this has most assuredly improved, however is it strong enough? All of the first soloist men seem to be shorter... I enjoy all of them, don't get me wrong. I probably enjoy watching these dancers more than I ever did Maddox... but if we are looking for a tall male principal it wouldn't be one of them. As a side note I've always felt it curious that KK tended to hire tall women (e.g. Fischer), but short men (e.g. Tedaldi). Should we consider second soloist potential? I would look at Brendan Saye and Brent Parolin. Perhaps not quite ready for principal, but these men are tall and with beautiful lines.
  12. New Associate Artistic Director

    Just saw this: http://national.ballet.ca/Meet/Backstage/Creative/Christopher-Stowell
  13. Les Grands Ballets Canadiens 2016-17

    Saw the Nutcracker on Dec. 26. Had forgotten how much I enjoy the "King of Candyland!" Overall a great show, and a wonderful crowd on a very icy night.
  14. 2016-17 season

    JumpFrog, I'm glad you were able to see the show, and that you enjoyed it. It really is nice entertainment! Because I've been around for a while now I have the odd piece or two of trivia. One of these is that I remember seeing Robert Binet (now choreographic associate) in Nutcracker - one of the roles he played was a little chef - and I remember that he was so incredibly cute, and really seemed to enjoy the stage! Curiously I don't recall him being overly tall for his age then (he's quite tall now as a young adult).
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