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YouOverThere

Senior Member
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About YouOverThere

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    Silver Circle

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    (unsophisticated) fan
  • City**
    Ithaca
  • State (US only)**, Country (Outside US only)**
    New York
  1. Colorado Ballet 2017-18 season

    Last 4 performances of Dracula are essentially sold out!
  2. Curiosity drove me to the opening night of Matthew Bourne's The Red Shoes at the Kennedy Center. It actually wasn't all that bad (anything with Marcelo Gomes in it can't be awful). It has a very smooth and crisp flow and reasonably talented dancers (at least by Broadway show standards), without the stupidity that marred Swan Lake. On the other hand, I wouldn't describe it as great. If I hadn't known the plot going in, I wouldn't have figured out what was going on. There was more ballet in the program than I expected. The choreography, other than Gomes' solos, wasn't particularly challenging - lots of lifts to excite the unsophisticated viewers but little complex footwork.
  3. Russian Masters program, KennCenter,10/4-8, 2017

    I might be wrong, but I've been under the impression that the MyTix program is only available for shows produced by the Kennedy Center (I've never seen Opera Lafayette use MyTix). Ticket prices for the WB have in the past been a bit of a puzzlement to me, as I have often paid less to see the NYCB than the WB. For this production, they did have a limited number of $25 seats.
  4. Russian Masters program, KennCenter,10/4-8, 2017

    You were correct about Richard Tanner. I agree for the most part, though I thought that while Ratmansky did about as much as it's possible to do with Bolero, there is a limit as to how much a choreographer (or listener) can wring out of such a simple, repetitive piece of music. Les Sylphides requires a relatively large number of women, which stretches the depth of a smallish company like the WB. On top of that, 2 women from the professional company were not cast (presumably because of injury), including Maki Onuki, who is possibly their best female dancer. Eunwon Lee suffered both a dislocated shoulder and a sprained ankle in the month before the run began, so she may have not been physically 100 percent (I did not get to the performances where she danced the Le Corsaire pas de deux). It was great to hear live music (especially Prokofiev's music for The Prodigal Son) even if the orchestra could have used a few more musicians.
  5. NYCB @ KenCen DC, June 6-11, 2017

    The National Symphony's rendition of Beethoven's 9th was louder than any music played during any of the NYCB performances.
  6. NYCB @ KenCen DC, June 6-11, 2017

    Nobody who has ever been to a rock concert would consider the music for Times are Racing to be loud. In fact, I've been to classical music performances that at least for small sections was louder than that. While I thought that Times are Racing was a lightweight piece (something on the order of Celts), I prefer to not be stuck with the same old, same old all the time, even at the risk that not all of the new stuff will be good. I'm a fan of Hindemith, and don't understand why he isn't more popular. His music is more melodic than most of his contemporaries.
  7. NYCB @ KenCen DC, June 6-11, 2017

    At least the costumes were better than the costumes for Rodeo: Four Dance Episodes. RFDE was yet another ballet that was hindered by bad costumes. The costumes totally clashed with the music. The Rodeo score rather obviously screams "rural" and "western", but the costumes were more like an exaggeration of what east coast inner city kids might wear.
  8. NYCB @ KenCen DC, June 6-11, 2017

    I've always wondered how one gets on the email list for these discounts. I wasn't on when I had a KC membership and I'm not on now that I've let my membership expire (any organization that can afford to pay $2.7 million/year to a below average orchestra conductor is clearly not in need of donations).
  9. NYCB @ KenCen DC, June 6-11, 2017

    I sat in the 1st tier for the Thursday evening performance, and I would recommend this vantage point to anyone else whose planning to attend either program. Since most of the works are basically abstract dances with no real characters to become emotionally involved with, not being on approximately the same level as the dancers isn't as important as being better able to appreciate the patterns. IMHO, of course. Overall, I enjoyed the performance more than the Wednesday performance. I had no problems with anything in the first 2 pieces. I didn't figure out what Times are Racing was about - maybe I just need to see it again (and with 2 more opportunities...). I loved Hindemith's music for The Four Temperaments - at times I became so engrossed in the music that I stopped watching the dancing.
  10. NYCB @ KenCen DC, June 6-11, 2017

    Wednesday's performance contained a surprisingly shaky (for the NYCB) rendition of Square Dance, with several missteps and a ballerina making an unchoreographed visit to the floor. It didn't help that the was a REALLY annoying man in the row in front of me, who was in almost constant motion and shifted from leaning way over to one to leaning way over to the other side every few seconds (I re-located to the end of the aisle for the rest of the program). They settled down for the rest of the program. I found Odessa to be by far the most interesting. Overall, the show seemed to lack passion (but I'll probably change my mind when I see it again - on a weekend). Leaving, we found ourselves walking behind WB ballerina EunWon Lee. I was surprised how tall she is - probably in the 5'7" to 5'9" range.
  11. Tudor/Ashton/Stiefel @ KC - 5/25-27/17

    Morgann Rose was the longest tenured member of the company, joining it 16 years ago, which means she was with Septime Webre all but the first 2 years of his directorship. She was one of at most two dancers in the company that were involved in Septime's Nutcracker from the first year and was pressed into duty this year in helping to stage it.
  12. NYCB @ KenCen DC, June 6-11, 2017

    According to the Kennedy Center website, the total PERFORMANCE length is 81 minutes for the Tues., Wed.. Sat. evening, Sunday program (with Odessa being 24 minutes long) and 75 minutes for the other program. There are also 2 20-minute intermissions in each program, plus curtain calls. So all the shows should last in excess of 2 hours.
  13. Tudor/Ashton/Stiefel @ KC - 5/25-27/17

    Rolando Sarabia was injured (some sort of wrist injury).
  14. Tudor/Ashton/Stiefel @ KC - 5/25-27/17

    At the finale, it was announced that Morgann Rose is retiring.
  15. Tudor/Ashton/Stiefel @ KC - 5/25-27/17

    I am not aware of any matinee performances other than a (apparently) free performance of Frontier Saturday afternoon (there also apparently is a free open rehearsal). Julie Kent has leaned heavily on her ABT past to get through this season. Given the short time that she had to put everything together, I don't have a problem with that. Hopefully, she will branch out and forge her own style as she gets more comfortable in the job.
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