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  2. ABT Fan

    ABT 2018 Fall season

    I'm going to wait till casting is announced before I buy any tickets, though I suspect that won't happen till September when I believe they'll start rehearsals.
  3. Today
  4. dirac

    Friday, July 20

    Q&A with Tiler Peck on "Ballet Now," with a clip from the film.
  5. dirac

    Monday, July 23

    An interview with Damian Woetzel.
  6. dirac

    Friday, July 20

    A compare-and-contrast of Isabella Boylston and Devon Teuscher by Alastair Macaulay in The New York Times.
  7. dirac

    Monday, July 23

    28 ballet students sustain minor injuries in a Pittsburgh bus crash.
  8. NinaFan

    ABT 2018 Fall season

    I agree that the scores for Glass Pieces and In the Upper Room are not the same. Like you, I'm a huge fan of both ballets and can never get enough of either of them. The only thing I'd say they have in common is the fantastic energy level which gets increasingly more exciting as the dancing becomes one with the music.
  9. California

    ABT 2018 Fall season

    I just got tickets for the first weekend. Yes, plenty to choose from, apparently as there are no subscribers for this, although they seem to be holding back some of the best seats for Golden Circle (or whatever). I guess Glass is an acquired taste - I'm a big fan and the commissioned score for Upper Room is distinctively different from the excerpts Robbins choose from other works for Glass Pieces. Still, music by Glass is instantly recognizable after all these years. I love Upper Room and look forward to seeing it twice. Symphonie Concertante is an ensemble piece, along with the two female principals. I haven't seen it since the 1983 premiere at Kennedy Center. It's exciting to think this was once considered "lost" and I'm glad they were able to reconstruct it from notation. Still, out-of-towners don't have the luxury of being fussy about casting. We have to take what we can work into our travel schedules.
  10. CTballetfan

    ABT 2018 Fall season

    The box office is now open, almost all orchestra tickets are available, and no casting has been announced. I think if casting had been announced I might be tempted to try to see Symphonie Concertante. No recent clips are available anywhere that I could find. I saw a long clip of In the Upper Room on Youtube and the Philip Glass music sounds exactly like the music for NYCB’s Glass Pieces. Is that true? I have no interest in seeing Fancy Free for the umpteenth time, ballets in sneakers or paired with tap or hip hop don’t move me, and based on comments about the subject matter of Afterite I would never see it, so it’s likely that despite availability of lots of good seats at reasonable prices, I won’t come in. As someone else posted here, NYCB has a good fall season, I have tickets to Jewels and the DeLuz farewell, so I’ll probably pass unless some casting I can’t resist is posted. Why didn’t they revive a Tudor ballet as was discussed on this board? That would have been something to see.
  11. Buddy

    2017/2018 season

    Hope that you're feeling better today, Drew. Did anyone notice Olga Smirnova's remarkably beautiful six minutes of dancing. 😊 I spent much of yesterday doing that.
  12. Drew

    2017/2018 season

    Thanks—don’t know why I misremembered that. I do believe that even silly or odd theatrical plots can’t help but let loose meanings....and if I were wrong about that, then I could still wish this ballet didn’t feature blackface dancing.
  13. Mashinka

    2017/2018 season

    Actually she's in love with Tahor and resisting an arranged marriage. On the other hand Radames rejects an Egyptian princess for a Nubian slave, They are just theatrical plots no matter how bizarre.
  14. Buddy

    2017/2018 season

    And thank you. Wisdom is commendable -- So is Joy
  15. Drew

    2017/2018 season

    Thank you....
  16. Buddy

    2017/2018 season

    Goin’ Back I think I'm goin' back To the things I learned so well in my youth, I think I'm returning to The days when I was young enough to know the truth But thinking young and growing older is no sin And I can play the game of life to win Then everyday can be my magic carpet ride So catch me if you can I'm goin' back Songwriters: Carole King / Gerry Goffin Hope that you're feeling much better as soon as possible.
  17. It was shown on the PBS network a long while ago (I don't remember exactly when).
  18. Olga

    Ballet Now

    I had the same thought. Dancing less and having others dance more is akin to learning to delegate, and the mark of an executive rather than a worker. It was definitely a mistake, and amateurish. A mistake i confess I made in my own prodessional life, which may be why i found it so glaring. Personally, I think it’s a mistake more common to women than men. But it’s possible there were other reasons at play, such as availability or illness of other dancers. She did mention that in the planning stages she had to drop some ballets because dancers weren’t available. I thought the director was myopic in his focus. Even if the Trusts wouldn’t give them rights to film the actual ballets, there should have been more of a sense of the larger picture. The film is called Ballet Now, not Tiler Peck’s First Director Gig. Maybe it needed a different title.
  19. Drew

    2017/2018 season

    Thank you for the information. Not feeling at all well today or I would have tried to go in search myself. I suppose I should forbear comment on the make-up (or choreography) of the children which seems to me anything but an "innocent" attempt at nineteenth-century multiculturalism in the absence of actual black dancers. There are obviously all kinds of racialized codes in play EVEN in Russia whatever the historical/contextual differences. I appreciate Fraildove's comments and appreciate her sharing her husband's experiences; we have had related conversations on Balletalert in the past on these issues. But both Lacotte (who is, as both Canbelto and myself have underlined, French, as was Petipa) and the current Bolshoi leadership are in a position to know the problematic history of these kinds of images. The Russian context may be different, but that doesn't mean that "blackface" has some entirely other meaning there especially in the context of a ballet that reflects enthusiasm for things Egyptian during the time of the building of the Suez canal and showcases various other orientalist fantasies -- the aristocratic English explorer, the opium dream etc. Are we to think all of those ethnic/racial codes are in play -- as they obviously are -- but not those associated with blackface? In a ballet in which the Englishman dreams of an Egyptian princess who would rather drown than marry a Nubian, and falls in love instead with an embodied Egyptian God who just happens to look exactly like an English aristocrat? That's a hard one for me. (Quinten and cubanmiamiboy just posted as I was typing this...Edited to add: Mashinka corrects me on one element of plot in a post below.) I don't question Russia's very different history--different from that of the United States or France or England--but that doesn't mean that the Bolshoi and Lacotte live in a different galaxy when it comes to the symbolic freight of these images. All of the above also doesn't mean I want to ditch every nineteenth-century convention that I wouldn't like or expect to see in a contemporary ballet. And I know contemporary ballets will themselves date in some respects. I'll even admit that, though it's against my better judgment, I enjoy much of what Lacotte has done. I find it to be the occasion of delightful dancing and rich scenic effects even if I don't take it very seriously as ballet history -- and certainly not as Petipa "reconstruction." But ballet is a performing art, which means it lives and dies in the "now" of performance so that, especially in a more or less pastiche attempt at recreating Pharaoh's Daughter that premiered in 2000, some tweaks can reasonably be made. Whether Pharaoh's Daughter might not in fact benefit from EITHER a more historically strict attempt at reconstruction OR, on the contrary, a looser adaptation with a new libretto along the lines of the Smekalov Paquita is hard for me to say. I do like the idea of a suite of dances based on the notations -- and it would be great to see that done by a major company.
  20. cubanmiamiboy

    2017/2018 season

    But no darkened skin makeup for the Indians of Bayadere...🙄
  21. Quinten

    2017/2018 season

    You may be on to something here. Ancient Egyptians were not white, as evidenced by tomb paintings, etc., yet they are being played by white people. Where are the Egyptian complected dancers who should be dancing these roles?? Why didn't Lacotte insist on a fully Egyptian cast? Something is not right about this. My head is spinning. 😵
  22. cubanmiamiboy

    2017/2018 season

    I remember doug's remarks about the Rivers variations, and how he had reconstructed the numbers only for Lacotte not to use them. Doug's quote - "I reconstructed 5 of the 6 river variations for Lacotte for his Daughter of Pharaoh, but he didn't use any of them (in the versions I provided). He did use three (I think, maybe it was two with the first being longer - it's been a while now - I should buy the DVD and check!) variations in one of the court scenes. One is for two women and the other isfor a man (Lacotte added a double tour at the end)."
  23. Quiggin

    Anthony Bourdain dead at 61

    Forgot to post this but thought it was a nice low-keyed remembrance by August Kleinzahler about meeting up with Anthony Bourdain at the Zam Zam room here in the Haight. https://www.lrb.co.uk/blog/2018/06/11/august-kleinzahler/remembering-anthony-bourdain/ There was another grassroots food reviewer, Jonathan Gold, who also sadly just died. He covered all of the vernacular food scene in Los Angeles for years, doing a kind of Bourdain thing even before Bourdain. And proverbally so: Pete Wells in the NY Times obituary quotes actor Mindy Kaling asking for a pizza recommendation on Twitter and adding, "Don't Jonathan Gold me and tell me to go to the San Gabriel Valley." I liked the LA Weekly article that Wells cited about Gold wanting to eat in all the restaurants along Pico Boulevard – that perpetually ungentrifiable eight mile stretch of the real deal Los Angeles: http://www.laweekly.com/news/the-year-i-ate-pico-boulevard-2129883 The New York Times obituary: https://www.nytimes.com/2018/07/21/obituaries/jonathan-gold-dead-los-angeles-food-critic.html?hp&action=click&pgtype=Homepage&clickSource=story-heading&module=second-column-region&region=top-news&WT.nav=top-news http://www.laweekly.com/news/the-year-i-ate-pico-boulevard-2129883
  24. vipa

    Ballet Now

    Thank you Nanuska and Emma for you suggestions. I'll check those out. Emma I agree that it would have been great to see, and have available, those performances of Balanchine. The Trust has a difficult balance in wanting the works to be seen and popularized, but not wanting videos to be so ubiquitous that people can "stage" and imitate them without the proper guidance. Another thought occurred to me about Ballet Now. Why did Peck dance so much on the programs? She said a number of times that she was in 6 different pieces. I don't attribute this to ego, rather to a novice's mistake. She could have imported another dancer to do Stars and Who Cares or Carousel.
  25. Yesterday
  26. MRR

    2017/2018 season

    Drew, I believe it was Ramze's Act II variation with the four children that was restored from the notations, which Canbelto linked to above.
  27. Quiggin

    2017/2018 season

    On the whole, toned down or toned up, both productions look like minstrel shows, at best parodies of minstrel shows. Kind of surreal.
  28. CharlieH

    2017/2018 season

    I’m curious to know if Doug Fullington’s research on the six River Variations ever resulted in a performance suite? I remember that a lot of his early work with the Stepanov notes was first set on students, such as the Corsaire Jardín Animé. Was the Pharaoh’s Daughter Rivers Suite (six variations) ever staged in Seattle?
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