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National Ballet of Canada 2018-19 season
Xiaoyi replied to kbarber's topic in National Ballet of Canada
Casting for The Nutcracker released: https://national.ballet.ca/Productions/2018-19-Season/The-Nutcracker The Sugar Plum Fairy Heather Ogden (December 8 at 2:00 pm/December 19, 28 at 7:00 pm/December 23 at 5:00 pm/ December 30 at 1:00 pm) Jillian Vanstone (December 8, 22 at 7:00 pm/December 15, 29 at 2:00 pm/ December 30 at 5:30 pm) Greta Hodgkinson (December 9 at 1:00 pm/December 18, 21 at 7:00 pm) Sonia Rodriguez (December 9, 16 at 5:30 pm/December 13 at 7:00 pm) Jurgita Dronina (December 12, 14, 15 at 7:00 pm) Calley Skalnik (December 16, 27 at 1:00 pm/December 20 at 7:00 pm) Elena Lobsanova (December 22 at 2:00 pm/December 23 at 1:00 pm/December 27 at 5:30 pm/ December 29 at 7:00 pm) Peter/The Nutcracker Guillaume Côté (December 8 at 2:00 pm/December 19 at 7:00 pm) Skylar Campbell (December 8, 22 at 7:00 pm/December 15, 29 at 2:00 pm/December 30 at 5:30 pm) Harrison James (December 9 at 1:00 pm/December 12, 14, 15, 18, 21 at 7:00 pm) Piotr Stanczyk (December 9, 16 at 5:30 pm/December 13 at 7:00 pm) Jack Bertinshaw* (December 16, 27 at 1:00 pm/December 20 at 7:00 pm) Naoya Ebe (December 22 at 2:00 pm/December 23 at 1:00 pm/December 27 at 5:30 pm/December 29 at 7:00 pm) Christopher Gerty (December 23 at 5:00 pm/December 28 at 7:00 pm/December 30 at 1:00 pm) All casting subject to change. -
@MadameP Lucky you to have seen so many of these performances!! No Solor, though? He says in the interview he doesn't dance Solor very often -- perhaps it's viewed as a "princely" role and other BP principals are deemed more appropriate? If that is true, I wonder how/why the Chelyabinsk/Israel tour came about. I read that initially Nikulina and maybe Lantratov(?) were going to do it, but then Lobukhin/Stepanova were announced just a few weeks ago. Maybe his star is on the rise!
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I have seen Mikhail Lobukhin dance live at the Bolshoi many times. Also, in the UK, and filmed privately. As I said above, he is an outstanding actor and has an amazing natural presence and magnetism on stage. He is also an excellent natural partner, who makes partnering seem as easy as breathing. I saw him as Abderaskhan in Raymonda, both live on stage and (oh lucky me!) in rehearsal backstage with Olga Smirnova. Impossible to take your eyes off him. Also, live as Ivan, Basilio, in roles in Golden Age - phenomenal tango! - Solor, concert solos, Russian Seasons - many roles. At MT he was never a principal and never given the principal role repertoire he deserved, and to some extent at Bolshoi he has not danced as many times in classical "prince" roles as he could have. But as Ivan, Spartacus, his roles in Bright Stream, Lady of the Camelias - he's wonderful. He has Vaganova schooling with very fluid body movements, lovely port de bras, masculinity which he exudes in every role. I live in the UK, and to have paid the price to go to the Bolshoi to see him in DonQ, Ivan(ESPECIALLY Ivan) Raymonda, Golden Age - was worth every penny.
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A review of Ballet Idaho by Dana Oland in The Idaho Statesman.
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@Mashinka thanks for responding. Too bad we didn't see him in the cinema broadcasts of Corsaire and Flames. Wonder why?
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Well, I saw him dance with the Kirov in a few roles but to be honest I never sat up and took notice until he joined the Bolshoi. He is very lucky to have found the company that exactly matches his talent. In my opinion he is unmatchable in Flames of Paris and currently the best Conrad. Really looking forward to Spartak next summer.
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Thank you Helene. I wish I could write more about Lobukhin myself but I really can't analyze performances I haven't seen. Hopefully I will see him perform in London this summer and will certainly write more then. It would be great to hear members' reactions to the article from the Jerusalem Post, especially anything more that people know about his development as a dancer. Was he always a great actor? How did he evolve into the presence he is today? Why hasn't he danced Solor more frequently, is there something about his physique or technique? Then more questions about his path to the Bolshoi. He says there was a change of management at Mariinsky that was a factor in his leaving -- was that after Vaziev left, and what was/is his relationship with Vaziev? I hope members will post here about their impressions of these performances so the reactions don't get lost in the Bolshoi general forum. I had hoped to post photos of Lobukhin in all his iconic roles to create a record of sorts, but if that is against Board policy then so be it.
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[Admin Beanie On] The original purpose of the Dancers forum was to discuss dancers who were no longer dancing, since their performances wouldn't be discussed in the Company forums. That has branched out into current dancers, however: We're not a fan site or a repository to aggregate a dancer's social media. If there is news about Lobukhin or you want to discuss his artistry, career path, guest appearances, etc., please feel free to discuss that here. [Admin Beanie Off]
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Just a few pics to get the ball rolling.... Ivan the Terrible Spartacus
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Thank you, Quinten! Lobukhin truly deserves his own thread! He is a wonderful dancer and partner and a Great actor, with truly magnetic presence on stage. In particular, he is outstanding in Grigorovich ballets.
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Maybe it's time for Misha to have his own topic. Here's an interview from the Jerusalem Post in which he talks about how he came to study ballet, reflects on his Mariinsky years and transition to the Bolshoi, and reveals his thoughts about performing the role of Solor with Yulia Stepanova and the Chelyabinsk Ballet in Israel next week. https://www.jpost.com//Israel-News/Culture/Turning-a-no-into-many-yeses-572106 As Solor with Yulia last May:
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I wonder about this, too, but now it seems vinyl records are making a comeback - now that I have long since given all my old records and stereo players to Good Will. I still have a TV hooked to a working VHS player, as some of my most precious VHS tapes were never released on DVD. But this is a continuing issue -- remember cassette music tapes? Beta videotapes? Video disks? Super 8 movies? Floppies for your PC? For better or worse, there are always tech shops (for a price!) that will happily convert your old generation stuff to a new generation. Planned obsolescence...
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I am wondering how much longer we can enjoy DVDs and CDs as streaming takes over and new technology replaces old. Recently a major UK store announced it would stop selling DVD players and the newest models of cars no longer have CD players. Now, I have only come across one music lover prepared to ditch his CD collection and know opera buffs with thousands of complete operas on CD, the time it would take to download would be considerable. I'm one of those people that like to pull a book, CD, DVD off a shelf. Am I a dinosaur?
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Colorado Ballet also performs exclusively to live music and has its own orchestra. I suspect there are other regional companies who can claim this achievement. I'm glad Ballet Arizona can claim this about their own company, but I agree that there's no need to misrepresent the condition of other companies.
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I got a Google alert to this link to a blog post by Ballet Arizona Executive Director Samantha Turner: https://blog.balletaz.org/continuing-to-thrive-a-letter-from-executive-director-samantha-turner/ I think there's very much of which Ballet Arizona has reason to be proud, but I found the following claims troubling: My first thought was San Francisco Ballet's annual performances at Stern Grove, the last of which was at the end of July 2018. New York City Ballet, American Ballet Theatre, Pacific Northwest Ballet, San Francisco Ballet, Boston Ballet, Pennsylvania Ballet, not only perform to live music (when applicable), but they also have their own orchestras. Houston Ballet had one until last season; I'm guessing that being forced into alternate venues is the reason I see none for this season. Closer in size, Washington Ballet touts the return of its orchestra, and Oregon Ballet Theatre lists their own. Kansas City Ballet performs to the the Kansas City Symphony, It took a grant for Miami City Ballet to get its orchestra back for three seasons, which shows how tenuous having live music can be, even for the best of companies. This isn't a lot of companies, but it is at least ten. Ballet Arizona aspires to be among the best: among its achievements is how high the standards are, and that includes performing to live music, and, for the most part, the companies that do perform to live music are much larger institutions and have far more resources. I think there are enough bragging rights in that without exaggerating.
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Balanchine's Don Quixote: Worth a Revival?
Jayne replied to l'histoire's topic in Ballets and Choreographers
Fascinating to watch that documentary, despite the sound issues, it is wonderful to see the dancers in roles they created, or soon after creation. - Last week
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We received the following note today: Here are links: Act I: Act II: -
Balanchine's Don Quixote: Worth a Revival?
Marta replied to l'histoire's topic in Ballets and Choreographers
Wonderful film that I'd never seen. Thanks for the link! -
Skylar Brandt in Big Ballet-Moscow
howpureisivory replied to maps's topic in American Ballet Theatre
Anyone know what the judges were saying about their performance? And if Skylar was being scored, how do you think she would have placed among the female competitors? Also, she posted this on Instagram. I can't believe she did that performance after so little prep. -
Here is the page of the program where you can see all the vdeos. https://tvkultura.ru/video/show/brand_id/63029/episode_id/1970753/video_id/2030473/
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A gala in Cape Town celebrates the memory of Mignon Furman.
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Nutcracker productions are altered to address concerns about ethnic stereotyping.
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Thank you for posting Yukionna! What a wonderful program! The wedding pas de deux with Amanda Gomes and Wagner Carvalho is one of the loveliest I've ever seen. They have such youthful ebullience and even if it was not perfect, I loved it.
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Balanchine at City Center
cobweb replied to maps's topic in Multi- and Cross-Company Events, Festivals, Galas, & Dancer Groups/Solos
It's been a few weeks since these performances, but I find myself still thinking about the Joffrey's Four Temperaments. Maybe because I saw it three times in as many days, and maybe it struck me in a fresh way because the performers were entirely new to me, but I find it's really stayed in my mind. Two details that stand out, that I haven't noticed before while watching NYCB: at the end of the third theme, when the man is holding the woman curled up before him, and she stretches out her legs as they exit the stage - as they executed this and exited, they both also rolled their heads way back - perfectly timed - as if to leave part of them behind on the stage, as if to prolong the parting? I hadn't noticed this detail before, and it keeps playing in my mind. Another detail was the exit of Phlegmatic and the four ladies. At NYCB, I seem to recall all five exiting in one batch (someone correct me if I'm misremembering this). The Joffrey's version had the four women rushing off as I'm used to, but Phlegmatic holds back, then extends his hand, reaching forward, exiting in the same searching way that he entered.
