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mimsyb

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About mimsyb

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    dancer/teacher
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    New York
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  1. I also felt the Bolshoi missed the mark on Rubies. So forced and "in your face" and not in a good way. They lacked musical punch. A pretty tepid showing. And those costumes! OMG! They looked like old curtain material from a long ago circus show. No one here is going to make me forget the great Tess Reichlen any time soon. But oh, the wonderment of Sara Mearns and Tyler Angle in Diamonds! Can anything come closer to heaven than these two? I've seen Sara dance this before, but never with such luster and inner sole. It was as if she spoke a whole other language, but was gracious enough to share with us her translation. She seemed from a whole other world. And please. If there is ANY doubt out there about the sheer inventiveness, the imagination and the musicality of this great choreographer, it can be totally put to rest. Every choreographer working today needs to study and study hard about how it all works. Free of the clutter. Empty of all false artifice. No kitchen sinks in sight! Pure dance, revealed in the most musical and magical of fashion. I bow down to Mr. B. and humbly so.
  2. Veronika Part leaving ABT

    I really can't blame her for the anger. It's not simply the firing; it's how it was all handled. And it's all so public. This has to hurt, no matter how you slice it. And I can't help but wonder how she will make a living even, given that she isn't a youngster with years of dancing ahead of her. Unless she teaches or has some other means of income. It has got to be worrisome. No one is really prepared to become unemployed.
  3. Veronika Part leaving ABT

    But can you imagine the hew and cry if it had been Stella who was terminated instead of Part.? After waiting so long for her promotion, it would have been a total PR disaster if ABT had terminated Abrera now. They will have to give her a few years in her new capacity perhaps just to please her very formidable fan base. I love Stella and wish she could have had a longer time, but I do wonder about up coming rep for her. I doubt she will ever get a "Swan Lake", or a "Bayadere". I hope it will be Abrera who will decide when it's her time to leave and not ABT's. Also, I find it odd that ABT supported so many dancers who were long term injuries (Hallberg, Cornejo, Hammoudi, Gillian, this year in particular, Stella even, and some in the corps also....Zhong-Jing Fang comes to mind ), but that they were so impatient with Part and her injuries. She at times struggled to "work through them" rather than stay out and truly heal. I'm only saying it feels to me as if ABT never truly understood what a treasure they had in Part and thus never really gave her full support. Even now, with Kolpakova getting older (although who would guess it!), ABT could REALLY, REALLY use someone like Part to help coach and guide these younger Principles. Role models and mentoring are such a big part (no pun intended!) of becoming a true artist. Despite what Veronika is saying now, I so hope she will find a place somewhere in which HER artistry can be fully appreciated.
  4. Veronika Part leaving ABT

    I agree, Vipa. This is an astonishing ballet that just keeps revealing more and more every time one sees it. It's so rich in texture and emotion. I couldn't help but notice the utter differences in both the Gomes work and the "new" Ratmansky with the Balanchine. While both of the newer pieces are clumsy and cluttered, the Balanchine seemed fresh and totally in the present. Unadorned; only ravishing movement. No choreographer living and working today can come up to Mr. B's standard. No one can reveal what dance can and should be. No one can really move us beyond the superficial that is presented so much to us these days. Dance over... bye, bye. But with Balanchine it stays burned in the memory and continues to speak to us even after the curtain comes down. While we can say that ABT is not a "Balanchine" company per se, still yesterday's performance by Veronika, et al gave us the perfume that is of the Master. No small thanks and recognition must go to Maria Calegari who set this work on the company. I have to hope that Veronika has this triumph to carry with her, despite all that has happened in the past few weeks. Perhaps she will be able to heal (both in body and spirit) and return someday and somewhere to teach and perhaps coach. She has so many gifts still to offer.
  5. Roster in Review - 2017

    I'm sad to hear about Daniel Mantei. I always loved his work, but felt he was somewhat relegated to back row stuff. He was always tall and elegant to watch. Sorry he didn't get more opportunities. But I've seen some of his choreography and found it to be quite engaging. Interesting. So perhaps he'll find another life somewhere else. Good luck to him.
  6. Roster in Review - 2017

    Joseph Phillips for one. And the "biggie", Sterling Baca. And let's not forget Simone Messmer.
  7. Veronika Part leaving ABT

    Wasn't it written somewhere in one of the recent articles that Part's sponsorship was turned down by ABT? I believe the company has the right to do that. Does anyone know?
  8. Veronika Part leaving ABT

    Amen to that, Canbelto. I'm still trying to process the fact of Part's departure. Big loss to the company.
  9. Fall 2017 Season

    Not a very interesting season, for sure. I'm looking forward to Mathew Bourne's "Red Shoes" in stead. Sara Mearns alternates as the lead!
  10. ABT 2017 Tchaikovsky Spectacular

    Well, one only has to look at the expansiveness of McBrides arms and upper body (as well as her legs) to see the difference. Boylston dances too much internally still. But I'm not sure she even has the upper body openness needed to do this work. And Mischa, even though small, dances so big!! I always feel as if this work should look "dangerous", and I use that term in the sense that the dancing should look as if it may not happen, but always does in the very best way imaginable! Videos are hard to judge by at times, but it seems to me the tempos in the video were more correct. Last night they seemed to lag a bit, as if to suit the dancers inability to "dance on top of the notes". I wanted a "rush" where there was none.
  11. Veronika Part leaving ABT

    I agree, Cubanmiamiboy. Part has given us so many "time stand still moments". Her "O/O" stands alone among many. "Bayadere", "Chopiniana", Myrtha, "Cinderella", "Sylvia", even "Trilogy". We can probably all give a favorite moment. Such a loss to the company. I know she's had injuries, but ABT seems to be very willing to wait it out for other dancers, but never for Veronika. She was never given a partner with whom she could develop a performance relationship with. IMO she should have been dancing with Gomes all these years. Now that Vishneva is gone, Part was the only real Prima ABT still had. Her elegance and assertiveness out shone all the rest. How I wish she could still find a place somewhere, but I'm guessing at this stage of her career, that might not be possible. NAtional Ballet of Canada perhaps, or even Pennsylvania Ballet. What a sad day at ABT when they can't find a place for this great ballerina.
  12. ABT 2017 Onegin

    Agree that fouettes can be totally different in class than on stage. But if one does practice them in class (a lot), one at least gains stamina for them, and one can come to understand the' mechanics' of the step. When I was dancing I did them always in class and also every chance I got whenever I could grab a corner of a stage. While I never had to do them in a ballet, when I got to B'way, I did have to do them there. Sometimes being really prepared can take the fear out of doing them. But I also agree that they are even more daunting coming as they do in the coda of "SL". A lot has come before. But there is a reason they are in the coda and not at the start of the pas de deux. It is the supreme test of a ballerina's skills and presentation. While we may give a "pass" to dancer 'A' or dancer 'B' for whatever reason, still we come away thrilled when they are accomplished and rightfully so.
  13. ABT 2017 Onegin

    Interesting that Sterling Hyltin could do the fouettes in SL easily, and this in a company that doesn't have a lot of them going on in their rep. (when does she need to practice them?) But at ABT where they do so many ballets that include fouettes and for a few of the ladies to not be able to accomplish them easily, it seems that something is lacking in the training.
  14. ABT 2017 Swan Lake

    Funny you should mention Polina, Abatt. I too miss her so much! But you are also correct in saying that Part was the best of the week. She simply broke my heart this afternoon with her emotion and dramatic portrayal. Her mime was especially splendid. Sure, a few small blips technically, but overall, just gorgeous. Those legs, those feet, those arms! Plus she brings her unique touch of glamour to this double role. Such a pleasure to watch her. Whiteside is much improved, but I would still prefer to see Part with a Prince who can match her emotionally. Both sides of Rothbart were well taken, with Hammoudi better here that in his attempt at Siegfried the other night. It was really difficult to hate Gray Davis as the "swamp monster" knowing his recent story of heroism on the subway the other night. And bravo to the four cygnettes for keeping it clean and musical. Teuscher and Hamrick as the big swans also fine and well matched (especially in the jumps). My last Swan Lake for the season made me quite happy indeed. A huge "thank you" to Veronika! Brava, brava, brava!!
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