cubanmiamiboy Posted June 4, 2018 Author Share Posted June 4, 2018 (edited) Some variations on the subject. Edited June 4, 2018 by cubanmiamiboy Link to comment
cubanmiamiboy Posted June 4, 2018 Author Share Posted June 4, 2018 (edited) Edited June 4, 2018 by cubanmiamiboy Link to comment
fondoffouettes Posted June 4, 2018 Share Posted June 4, 2018 In case anyone is curious, the new Ratmansky Harlequinade is 1hr 47mins, including one intermission. (The run time wasn't listed on the Met website, so I used the chat feature on their website and asked a customer service person.) Link to comment
Ilovegiselle Posted June 4, 2018 Share Posted June 4, 2018 1 hour ago, fondoffouettes said: In case anyone is curious, the new Ratmansky Harlequinade is 1hr 47mins, including one intermission. (The run time wasn't listed on the Met website, so I used the chat feature on their website and asked a customer service person.) that's really short! Which is good after the long La Bayadere nights I have had last week. I am watching two shows this week, excited to get to bed early. Link to comment
Inge Posted June 4, 2018 Share Posted June 4, 2018 I have to admit, I'm a little worried about Boylston's disclaimer here:'If you approach watching Harlequinade as taking a little trip back in time, I think you will really enjoy yourself and be transported.' Anyone who goes tonight, please report back! I'm debating whether to see 2 or 3 casts. Link to comment
cubanmiamiboy Posted June 5, 2018 Author Share Posted June 5, 2018 (edited) 1 hour ago, Inge said: I have to admit, I'm a little worried about Boylston's disclaimer here:'If you approach watching Harlequinade as taking a little trip back in time, I think you will really enjoy yourself and be transported.' Anyone who goes tonight, please report back! I'm debating whether to see 2 or 3 casts. I believe she totally "got" what this ballet is tonight and might represent in the future for both audiences and performers. If anything, be assured audiences in 10 years from now won't be having deep discussions on how to portray Columbine the same way we do today about Giselle, Odette/Odile, Raymonda or even Swannilda. Edited June 5, 2018 by cubanmiamiboy Link to comment
CharlieH Posted June 5, 2018 Share Posted June 5, 2018 (edited) JUST back to the hotel. One word: GORGEOUS! Two more words: TSARIST SPLENDOR! In other words...El Cheapo is absent! Total triumph tonight, judging by the loud bravos for Ratmansky & the designers, in addition to this perfect cast. Boylston’s solos are all ultra difficult terre a terre dancing - incl lots of hops, some in circular patterns - that few ballerinas alive today could master. Whiteside combined amazing quick beats and great humor in mime to win us over as Harlequin. Murphy resplendent as Pierette, a meatier role than we see in Balanchine. Pierot is almost 100% mime...so Pierette has an unnamed “mystery man” for her partnered dancing (Alex Hammoudi). i made lots of notes comparing this Petipa original to the famous versions of Gusev (Maly, Leningrad 1950s) and Balanchine (NYCB, 1965 & 1973). Both men remembered LOTS of the Petipa but not necessarily the same movements (for ex, Balanchine got the Ai Ballabile’s snaking exit correct and much of the kids’ dances; Gusev got the head bobs of the Scaramouche ladies...and a signature “big rond de jambes move” by the ensemble in the finale). But both Balanchine and Gusev forgot that Bonne Fee is a mime role in heels - originally Urakova (as per RG’s post & photo below), here Tatiana Ratmansky! Lots to digest. Now I’m being summoned to supper by friends so I’ll end here. Edited June 5, 2018 by CharlieH Correcting name of Bonne Fee in 1900 Link to comment
fondoffouettes Posted June 5, 2018 Share Posted June 5, 2018 Now I can't wait to see it tomorrow! Lane is this costume has me swooning. Link to comment
cargill Posted June 5, 2018 Share Posted June 5, 2018 Everyone had hats and they were gorgeous! Especially Boylston's in Act I. I loved that the hats were part of the choreography, bobbing around. Link to comment
Inge Posted June 5, 2018 Share Posted June 5, 2018 (edited) 10 hours ago, CharlieH said: JUST back to the hotel. One word: GORGEOUS! Two more words: TSARIST SPLENDOR! In other words...El Cheapo is absent! Total triumph tonight, judging by the loud bravos for Ratmansky & the designers, in addition to this perfect cast. Boylston’s solos are all ultra difficult terre a terre dancing - incl lots of hops, some in circular patterns - that few ballerinas alive today could master. Whiteside combined amazing quick beats and great humor in mime to win us over as Harlequin. Murphy resplendent as Pierette, a meatier role than we see in Balanchine. Pierot is almost 100% mime...so Pierette has an unnamed “mystery man” for her partnered dancing (Alex Hammoudi). i made lots of notes comparing this Petipa original to the famous versions of Gusev (Maly, Leningrad 1950s) and Balanchine (NYCB, 1965 & 1973). Both men remembered LOTS of the Petipa but not necessarily the same movements (for ex, Balanchine got the Ai Ballabile’s snaking exit correct and much of the kids’ dances; Gusev got the head bobs of the Scaramouche ladies...and a signature “big rond de jambes move” by the ensemble in the finale). But both Balanchine and Gusev forgot that Bonne Fee is a mime role in heels - originally Marie Petipa (I think), here Tatiana Ratmansky! Lots to digest. Now I’m being summoned to supper by friends so I’ll end here. I can't wait to see Boylston in this role. I've been waiting for a long time for a ballet that made her style of dancing 'work' for me, and she looks perfect for this. The same goes for Whiteside. I was just going to go to Wednesday and Thursday's performances, but now that you say that Pierrot is almost 100% mime...I don't know if i can skip out on David Hallberg just miming his was through a ballet tomorrow. Thank you for this amuse-bouche of a review! Edited June 5, 2018 by Inge Link to comment
CharlieH Posted June 5, 2018 Share Posted June 5, 2018 (edited) You’re welcome, Inge! Pierrot does a little “floppy leaping” in his A1 initial encounter with Pierette (longish mime episode about the key) and he appears in group dances in A2, including the reconciliation dance with Pierette and her friends, BUT it’s mostly mime. Thomas Forster performed Pierrot to a T tonight. David Hallberg will definitely not be pushing his dancing feet tomorrow night...but he’ll be called upon to perform vigorous comedic acting. Did you see his comedic moments as Prince Coffee in Whipped Cream last year? I think we’re in for a treat tomorrow. Edited June 5, 2018 by CharlieH Link to comment
its the mom Posted June 5, 2018 Share Posted June 5, 2018 9 hours ago, cargill said: Everyone had hats and they were gorgeous! Especially Boylston's in Act I. I loved that the hats were part of the choreography, bobbing around. I have to admit I have been a little worried about the hats and whether or not they would interfere with the dancing (or make it even more difficult for the dancers.) Link to comment
Fleurfairy Posted June 5, 2018 Share Posted June 5, 2018 12 hours ago, CharlieH said: Total triumph tonight, judging by the loud bravos for Ratmansky & the designers, in addition to this perfect cast. Boylston’s solos are all ultra difficult terre a terre dancing - incl lots of hops, some in circular patterns - that few ballerinas alive today could master. Then it doesn't surprise me that they took Misty out of the role. This type of dancing is not exactly her forte. Link to comment
rg Posted June 5, 2018 Share Posted June 5, 2018 Anna Petrovna Urakova danced the role of La Bonne Fée in 1900 Link to comment
its the mom Posted June 5, 2018 Share Posted June 5, 2018 45 minutes ago, Fleurfairy said: Then it doesn't surprise me that they took Misty out of the role. This type of dancing is not exactly her forte. How do you know she was taken out? Link to comment
Fleurfairy Posted June 5, 2018 Share Posted June 5, 2018 Just now, its the mom said: How do you know she was taken out? She was originally listed on the casting sheet as Columbine but was recently replaced by Skylar Brandt. Link to comment
its the mom Posted June 5, 2018 Share Posted June 5, 2018 26 minutes ago, Fleurfairy said: She was originally listed on the casting sheet as Columbine but was recently replaced by Skylar Brandt. Yes, but that does not mean she was taken out. We cannot assume that. She could have taken herself out. Link to comment
CharlieH Posted June 5, 2018 Share Posted June 5, 2018 38 minutes ago, rg said: Anna Petrovna Urakova danced the role of La Bonne Fée in 1900 Fascinating, RG. Thank you. I had incorrectly assumed Marie P. but will correct my report. By the way, I happily noted that you are mentioned in the Playbill among those who assisted ABT/Ratmansky with additional documents to make this production happen. Bravo! Link to comment
nysusan Posted June 5, 2018 Share Posted June 5, 2018 1 hour ago, Fleurfairy said: Then it doesn't surprise me that they took Misty out of the role. This type of dancing is not exactly her forte. 39 minutes ago, its the mom said: How do you know she was taken out? 38 minutes ago, Fleurfairy said: She was originally listed on the casting sheet as Columbine but was recently replaced by Skylar Brandt. 27 minutes ago, its the mom said: Yes, but that does not mean she was taken out. We cannot assume that. She could have taken herself out. Taken out, taken herself out - same thing. She couldn't dance the role. I wouldn't assume that she "took herself out" to save her time and energy for another role. Nobody takes themselves out of the biggest premiere of the season by ABT's world famous resident choreographer unless its filled with difficult steps that they can't do. Link to comment
its the mom Posted June 5, 2018 Share Posted June 5, 2018 (edited) 1 hour ago, nysusan said: Taken out, taken herself out - same thing. She couldn't dance the role. I wouldn't assume that she "took herself out" to save her time and energy for another role. Nobody takes themselves out of the biggest premiere of the season by ABT's world famous resident choreographer unless its filled with difficult steps that they can't do. It is certainly not the same thing. She is dancing two Juliets, two Swan Lakes, two Whipped Creams, and another Bayadere in LA. Not everyone loves dancing Ratmansky's work. Cornejo is no longer dancing Whipped Cream. He did dance Firebird, and although filled with ridiculous partnering, the solo work is not as taxing as that of Harlequinade and Whipped Cream. I am not some huge Misty fan, and I do not know whether she can dance the role or not, but making it sound that admin took her out is wrong. Edited June 5, 2018 by its the mom Link to comment
Helene Posted June 5, 2018 Share Posted June 5, 2018 45 minutes ago, nysusan said: Nobody takes themselves out of the biggest premiere of the season by ABT's world famous resident choreographer unless its filled with difficult steps that they can't do. That is not universally true, nor is it universally true that dancers are taken out of roles or agree that it's a good idea when management makes a decision they are reluctant to make, because they can't perform them. There are lots of practical considerations, especially for busy dancers, like scheduling, rehearsal conflicts, partner load, partner health, etc. All of these have happened in every company I've watched closely, and unless there is official confirmation, the only facts we know are which dancers have been on the casts lists and which dancers are on them now. Link to comment
abatt Posted June 5, 2018 Share Posted June 5, 2018 (edited) I have no specific information on why Misty is not appearing in Harlequinade. However, I can offer these facts about her Sat evening performance of Bayadere. She only completed 4 Italian fouettes in her big solo for Gamzatti, and filled out the rest of the music by doing something else. In that same solo, she only completed a few regular fouettes, and then filled in the rest of the music by doing something else. The audience cheered anyway: either they were completely unaware of the standard choreography or they knew but didn't care. I don't think Ratmansky takes kindly to alterations of his choreography, whereas it seems to be standard practice now to permit alterations of works of classical choreography at ABT. Petipa can't say no to these alterations. (Boylston and Cirio were excellent in Bayadere.) Edited June 5, 2018 by abatt Link to comment
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