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About fondoffouettes

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    avid balletgoer
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    New Yrok
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  1. 2017 Fall Season

    I wonder if the quickness of the music negatively affects the pacing of the ballet as a whole. The last time I saw the Martins Swan Lake, I felt as if things moved along so quickly that there wasn't really time for character development, expression of emotion or detailed storytelling. It felt more like "City Ballet dances a swan-themed ballet," if that makes any sense. And, of course, I think the sets and costumes appeal to virtually no one. I also felt as if the pacing and structure of Martin's Sleeping Beauty were really odd, but in a different way, because of the cuts he made, the music he applied to transitions between scenes and the way he divided the acts. There was a disjointed quality; not sure how to more accurately describe it. I was really torn about whether or not to go this season, given the great casting, but for me, a great Swan Queen still can't save this production. I still may suck it up at some point for the chance to see Mearns in this role.
  2. ABT 2017 Met season

    I do think national affinity may be part of it. In Arlene Croce's New Yorker piece about Diana Vishneva's farewell, she summed up perfectly what I often do not like about Russian ballerinas: "How hard they can be! Over-rehearsed, over-styled, lacquered—bronzed. Some people like that in the Russians. It makes them feel they got their money’s worth." My favorite Russian ballerinas from the past decade — Vishneva and Part — are exceptions to this description. They are intensely human, soulful performers, each in her own way, never overly "lacquered." They mix the best of Russian and American qualities, IMHO.
  3. 2017 Fall Season

    Where are the PDF calendars on the website? I'm only familiar with the casting PDFs and the dynamic performance calendar.
  4. 2017 Fall Season

    How does NYCB handle a farewell when it's in the middle of a program? The website indicates that it will take place between La Valse and Cortege Hongrois. I'm not as familiar with NYCB farewells as with ABT's, and I also realize this is different in that Fairchild isn't retiring. Will it just be like any other performance?
  5. Veronika Part leaving ABT

    Hmm...odd it was taken down. For those that didn't see it, it was a guest ID badge for Royal Ballet, including Part's headshot and dated 8/17, with a caption from Part saying she has enjoyed being able to take class with the company. Maybe someone from the Royal Ballet asked her to take it down...might be against their social media policy...who knows.
  6. Veronika Part leaving ABT

    Well, it seems as if Part isn't hanging up her pointe shoes. So heartening to see this. Or course her future onstage remains a question mark, but I'm just glad she hasn't said goodbye to the art form.
  7. Houston Ballet: hurricane and flooding?

    It's been reported that flood waters have reached the main stages of the Wortham Center. http://www.statesman.com/weather/hurricanes/houston-flooding-along-key-city-bayou-hits-catastrophic-levels/prtx1Xazhy56VkDci4jLZN/
  8. Roster in Review - 2017

    This is pretty extraordinary: Brandt has posted some additional, very impressive footage of her practicing Kitri's variations (with awesome Plisetskaya leaps), but unfortunately they were Instagram stories that cannot be reposted. Would love, love, love to see her and Cornejo in this. They were fantastic together in Corsaire last season. Why the company continues to engage Kotchetkova is beyond me...
  9. Fall 2017 Season

    Me, too. It's the only performance I'm going to in this rather underwhelming season. How about Simkin/Lane in Other Dances? Neither is scheduled to dance in other pieces during those two performances that include the TBA Other Dances. I know others have said that the piece has often been cast with short, lively dancers, so they would seem a good fit. It might be nice to see a younger, up-and-coming couple in the piece, too, though.
  10. Fall 2017 Season

    Tube top makes it sound like they threw her in something from the Forever 21 clearance bin. It's at least a rehearsal or performance top, with invisible straps holding it up. I can't say I found the flyer terribly convincing, either, though. They tried to fit everything and the kitchen sink on the back. I find the image a little bland and dark, but it reads to me as a classical ballet company presenting contemporary rep (the pointe shoes and both of their musculatures remind me that it's a ballet company). For several seasons, NYCB has been employing a mix of street and rehearsal clothes in their promotional materials, so it's certainly a trend, whether it appeals to the core ballet audience or not. And ABT's promotional photos for the Met season, taken by the NYC Dance Project, didn't present the dancers in costumes (with the exception of Copeland who wore a Juliet dress, I believe). I think it probably humanizes the dancers a bit and makes the art form feel more approachable, while still showing off the dancers' beauty. Also, if you aren't a hardcore fan, it may not matter whether a dancer is presented in a costume versus street/rehearsal clothes.
  11. Fall 2017 Season

    It's the same as the banner image at the top of this page: https://davidhkochtheater.com/Season-Tickets/17-18-Season/American-Ballet-Theatre.aspx I have to admit I found nothing unusual about the photo; it didn't give me pause when I received the brochure in the mail. It's well-composed and conveys that it's a season of (mostly) contemporary works. Copeland, like Murphy, has breasts that are larger than those of many female dancers, but to me, this photo isn't exploiting that fact or trying to use it as a selling point.
  12. Roster in Review - 2017

    Rarely, but there are a few precedents: Simon Messmer: http://www.abt.org/insideabt/news_display.asp?News_ID=289 Craig Salstein: http://www.abt.org/insideabt/news_display.asp?News_ID=179 David Hallberg: http://www.abt.org/insideabt/news_display.asp?News_ID=62 I think it's been more common for soloist-to-principal promotions to occur at random times of the year. Even though ABT is down to three female soloists, they have quite a few corps women that they can cast in soloist roles. They might not feel a need to recognize them with the title of soloist just yet, though. It seems more accepted for a corps member to get lots of soloist opportunities (without the title) than for a soloist to dance lots of principal roles and not be promoted.
  13. Roster in Review - 2017

    I wonder if he's transitioning to a faculty role at ABT. On Instagram, I seem to recall him coaching the ABT corps members that recently appeared at SUNY Purchase. And he frequently leads company class too, right? (I'm not familiar with the conventions of who is asked to lead company class, so I'm not sure if this signifies anything.) It would have been nice to see his last performance acknowledged, though. I'm not sure what he danced in the last four weeks of the season, after Birbanto in Corsaire. Maybe some Neopolitan dances in Swan Lake and character roles? Delighted to see Ribagorda back. His dancing was absolutely superb in his last couple seasons with ABT, and he excelled in the soloist roles that were thrown his way. This past season showed that ABT could really use some experienced corps members. They were looking pretty ragged at times, and I guess that's to be expected with so much churn. In other news, Veronika Part seems to be recovering from her dismissal and is posting more positive messages:
  14. Macaulay on NYCB

    An absolutely beautiful reflection on Tiler Peck's artistry, from Macaulay: https://www.nytimes.com/2017/07/24/arts/dance/tiler-peck-city-ballet-balanchine-macaulay.html He really captures exactly what makes her so special.
  15. This element was also an issue for Smirnova and Chudin, but I believe it was due to a partnering glitch. It wasn't that it was de-emphasized; it just came off awkwardly because of some sort of lack of coordination between the two. That said, I've never seen anyone able to pull it off as swiftly and with such impact as Farrell. I've been disappointed at NYCB, as well, that the ballerina doesn't do it with nearly as much snap. And yes, I'd prefer no gloves if at all possible, but if we have to have them, at least not the fingerless ones, please! Maybe the Bolshoi added them as a nod to Karinska's designs. I agree that NYCB's scenery for Diamonds is by far the weakest of the three acts. The netting that holds up the chandelier-like jewel clusters is so thick and clunky that it ruins any illusion of them floating in space.