Jump to content

All Activity

This stream auto-updates     

  1. Past hour
  2. Part of the problem is also that McKenzie is often giving two performances of a role in one week to certain dancers, instead of spreading the roles out to additional dancers. For example, Copeland I believe has gotten two Juliets in a week during the past revivals of the last few years. McKenzie also often gives two performances of roles to Hee Seo. This policy has diminished the opportunities for other dancers to take on new lead roles. In part, that explains why Lane has not gotten a shot at Juliet. I think going forward that there are many roles that Copeland may cut back on or give up entirely, based on her reduced schedule this past spring season. She can keep the entire week of Jane Eyre as far as I'm concerned. However, it's time for others to step up into the classics like Don Q and Juliet.
  3. Today
  4. I asked an expert regarding the Italian fouettes. He says the DQ dances them in the choreography attributed to Petipa used by the Maryinsky however they weren't in the Bolshoi's traditional Gorsky version despite certain Dulcineas choosing to perform them, e,g, Maximova, N. Pavlova. So it seems who dances what is now a matter of choice at the Bolshoi, as last week's Don Q's proved.
  5. The problem with ABT is that we waited way too long to see Abrera's Giselle, and then waited too long to see Lane's (one of the greatest I've seen). Management has to make a choice. They can do what they are doing or take Giselle shows from Abrera and Murphy to give more shows to Lane (while she is still in her prime) and offer chances to Trenary & Brandt. Someone is going to lose either way. Kent hanging on for so long was a problem IMO, as was the guest artist policy. A corrective is needed which will have winners and losers. It's nice that Abrera finally got to do Juliet, but perhaps Lane should have gotten that chance.
  6. I saw the film yesterday. Huge dissappointment. It feels like a grander, augmented cinematic version of a gossip History Channel episode. Very unrealistic feeling. The ballet sequences also felt out of place, never masking the fact of being a portray of contemporary dancers doing contemporary movements in period clothing. It was a bit boring, IMO.
  7. Yesterday
  8. I would love to see her dance Giselle at KC. I am confident she will not disappoint. Nobody should think for a moment that she is a simple "Kitri". DC has already warmed to her charm. We saw her Columbine this year.
  9. I actually messaged Skylar about posting the Giselle videos to her story which she replied immediately being like GREAT idea. She's such a sweet and talented ballerina I hope to see her as Giselle one day!
  10. That's my recollection too. I think the fact that he is not listed for any roles in the fall may be related to that issue. On a separate note, I'm glad to see that Giselle remains in Stella Abrera's rep, but I have my doubts about the level of her performance going forward in this role. The Giselle she did with Gomes at his 20th Anniversary was shaky. I thought she might return to the role of Myrtha at this point.
  11. Welcome to Ballet Alert! I only saw two of the programs (B and D), but loved them both. As you say we get so little chance to see the Royal Ballet in the states, so while the choreography took second place to the dancers, I was fine with it. Like you, I was very taken with Sambe and Cuthberson. Balanchine would have had a field day choreographing for her.
  12. I agree but I do think he did have an injury in the spring. If I recall he had been cast for some Purple Rothbarts and had to pull out?
  13. Thank you @nanushka for the clarification. For a minute I thought maybe he was either injured or performing elsewhere for the fall season. On a different note, I wish they'd bring back Rodeo. I love that ballet.
  14. I attended programs B and C and then program D twice. Of the 3, I think I enjoyed Program D the most simply because of the dancers. I couldn't get enough of the four of them, especially Sarah Lamb and Edward Watson. I'd only see Watson once in 2015 and loved him. Overall, the programming as a whole did not blow me away, but reminded me of how little we actually see these dancers here. I am overdue to return to London again to see as many performances of The Royal Ballet as I can jam into a long weekend. It was a treat to see Robbie Fairchild in NYC, as I hadn't seen him since Brigadoon at City Center in 2017 after he retired from NYCB. As David Hallberg is barely at ABT anymore, I thoroughly enjoyed watching him dance with Joseph Gordon in the Bejart piece. At this point, I'll take anything in which I can see him. Of B and C, I was very impressed by Marcelino Sambé and Lauren Cuthbertson in "Two Sides Of" and Cassandra Trenary. I attended an event at which Trenary noted how much she loved MacMillan, so I was excited to see her in "Elite Syncopations" and she was great. Both of the Bond pieces that I saw were elegant and enjoyable, but not particularly memorable. The last piece in Program D was "Cristaux" and it reminded me of a magic show with the glittering crystal costumes, music and lights.
  15. Last week
  16. I just liked this backstage photo from Stern Grove: (photo by Erik Tomasson) https://www.instagram.com/p/B1W0THuj59P/ And Dores André and Lonnie Weeks rehearsing the new Marston ballet: https://www.instagram.com/p/B1JdH_3Dvyy/
  17. I have my doubts about AGMA acting sooner if they had. Different times. Plus, the reasons why the women didn't lodge a union complaint are likely the same as why they didn't push management, even if they went to management. Just like the union might have gotten Ramasar reinstated at NYCB under his current, but couldn't guarantee he'd be offered another.
  18. In the Bolshoi production the Queen of the Dryads generally doesn't do Italian fouettes because they are reserved for Dulcineas who can't do the sissonnes toward the end of her variation (e.g., Zakharova, Smirnova, Stepanova). Although even among "jumping" Dulcineas there are few who do sissonnes; most switch in jetes instead, for example, Shrainer on Thursday.
  19. "After the allegations were made public last week, the American Guild of Musical Artists, the union representing opera soloists, choristers and ballet dancers, announced that it had contacted opera companies to demand investigations and that it would “closely monitor this situation, making the safety of our members our first priority.” No doubt AGMA would have acted sooner if any of the women affected had made an official complaint. And their cases would be stronger if any of them had kept Domingo's obsessive messages. At least they told other people. Your union exists for your protection. (Just doing a little Monday morning quarterbacking.)
  20. Yes, but the Bolshoi's version uses a different variation than the traditional one that most companies do, so I assumed that it was expected for the Dryad Queen to leave them out in this particular production. I looked it up on Youtube and both Smirnova and Stepanova leave them out in this version. I'm intrigued that some Dryad queens apparently added them back in for London.
  21. Not surprising at all, given that European opera houses in general rely primarily on state funding.
  22. That's pretty much what I expected, European attitudes do tend to be a lot different in these cases.
  23. Michael Cooper has a piece in the Times on the opera world's mixed responses to the Domingo allegations. A few excerpts:
  24. Kovalyova left out the Italian fouettes, I assumed that this was part of the production as Stepanova did them in her Dulcinea variation. Is the Dryad queen supposed to do them in the Bolshoi’s new version? Did the old version use the traditional choreography?
  25. I was led to believe that originally the Bolshoi planned to bring Bayaderka, but switched to Don Q because the RB was dancing it this past season, only thing is, the RB was dancing Don Q. too, so I don't understand their reasoning. Comparisons are inevitable. Acosta's production isn't that much liked, despite the fact that it's the first at the RB to be successful. The Bolshoi's version isn't that great either, inferior in my opinion to what the Mariinsky has. However with the chance to see dancers new to me in the leading roles, I finished up seeing three of the four performances. Opening night with Shrainer and Tsvirko didn't quite deliver. He was good, a near perfect Basilio played with considerable humour, but something wasn't right between him and Shrainer in the lifts, something I also noticed when they were paired in Spartacus. She danced well enough but couldn't bring the role to life, a friend commented that she was midweek matinee material and on that showing I'm afraid I agree. Friday night was Ekaterina Krysanova and David Motta Soarez and this was a stellar performance. Soarez is a very young dancer but totally at ease on stage, if he had nerves, they didn't show. He dances well, room for improvement, yes, but impressive all the same. I should mention he's also good looking, Brazilian eye candy in fact, he went down very well indeed. As for Krysanova she sparkled from start to finish and even for this seen it all before fouette watcher, I have to say her speed was quite awesome and she remained virtually on the spot throughout. The chemistry with Soarez was quite vibrant and they looked an excellent match. One curious incident that I noticed was that she was absent in act two when her father comes looking for her, she is supposed to be sitting on her chair in the corner hiding her face with a fane while her girlfriends spread out their skirts to conceal her further. On this occasion Lorenzo shoves past the friends to find no one there and had to improvise some business with the chairs: very odd.. At the curtain calls Soarez knelt before Krysanova gazing up at her with a look of adoration and the large bloom from her bouquet she handed him, he brandished as a trophy between his teeth. Could it be the beginning of an exciting stage partnership? I very much hope so. I have very little to add to Madame P's critique of the Sevenard/Belyakov performance, it was a very accomplished Kitri from a dancer so young, but I do wish I could have seen her in a more purely classical role. Sevenard made her debut in London about three years ago dancing Fairy Doll with a group of Vaganova students and people who saw her then turned up to see how her career is progressing , I consider her more than just promising. I would have preferred to have seen Belyakov in something more classical too, he would make a fine Jean de Brienne for example, but he found a lot of comedy in Basilio and his technique is amazing. The Bolshoi used to have a better Don Q than this one, for me it's too frantic with all the background cloak waving and the irritating multiple castanets. The second act comes off worst with the interminable Spanish skirt waving and that absurd jig. The gypsy dances appeared curtailed, didn't there used to be a young man dancing a super fast number with a whip? There isn't now. Last time around the Dryad Queens were embarrassingly bad, they've improved, but not by that much and one left out the fiendish Italian fouettes altogether, perhaps like me she finds them vulgar. The fact is the RB can do a lot better, no one got within spitting distance of Fumi Kaneko in that role. They really should have stuck with La Bayadere.
  26. I have seen all four Don Quixotes and I happen to like Stepanova's interpretation of Kitri better than the others (despite the unfortunate wobble in the beginning, but then every one has their off days and I'd say this mistake speaks to how eager and emotional she was trying to do her best in this performance). Other than this she was absolutely perfect for the rest of the performance, and whenever she appears on stage, the vibrancy in her movements, her charisma, combined with her beautiful lines, gorgeous jumps, unique body type and excellent musicality, makes her portrayal of Kitri extremely convincing to the extent that I am willing to stop comparing her to others and simply enjoy her presence as Kitri. Now it's almost two days after I saw her performance, and images of her Kitri is still somehow very fresh in my mind. Admittedly she was already one of my favorite ballerinas before I saw her as Kitri, but I too shared the view that Kitri was not the best part for her. However, this performance totally changed this view of mine, and I am just amazed at how much more she can still surprise me on stage. The audience responded to her portrayal particularly well, and there were also visibly more people waiting for her at the stage door after the performance, in comparison to both her Swan Lakes and her Spartacus. Krysanova's interpretation was solid, classic, emotional and characteristic of her style, and she looked particularly well together with David Motta Soares. I've seen Krysanova live three times as Kitri (and many times more in other parts), and I would just say that I am very grateful that I got to see her latest one in London. I share MadameP's view regarding Eleonora Sevenard. It is impressive for a young ballerina to be able to portray this part at this level, but there is still plenty of room to grow in terms of characterization. Margarita Shrainer's Kitri was also charming to me, although in comparison to the other three performances, she definitely still has room to grow both in terms of technique and characterization. The four Basilios were all good and each of them has something more remarkable than others, but this also in some ways means to me that each of them is also short of something. In general, I liked David Motta Soares's first act the most, and Denis Rodkin's third act, and Artem Belyakov's acting skills, and Igor Tsvirko's spirit and technique, and I just wonder how nice it would be If someone could combine all of their most distinguishable qualities :).
  27. The Korean Cultural Center brought the Choe Contemporary Dance Company to the Kennedy Center. Fortunately, the Korean Cultural Center also footed the cost of the production so that tickets were free, because this production contained everything that I dislike about modern dance. There were 2 pieces in the performance: Chaos and Liar. Both were basically about nothing at all, consisting of a disconnected hodgepodge of ideas and lack of ideas and seeming to drag on endlessly without purpose or direction. There was way too much milling around, moving around R---E---A---L---L---Y S---L---O---W---L---Y, and, in the case of Chaos, rolling around face down on some sort of motorized skateboards (or something - I was too far back to see what they were actually rolling around the stage on). What little activity there was had a way too high proportion of gymnastic or martial arts derivation. Much of the "music" for Chaos consisted of a single note repeated over and over and over and over again. My accomplice, who in the past has defended modern dance when I've criticized it, declared that in the future she would only attend ballet.
  28. His casting has been more irregular in the past few years, I think, than in the few years before that. I’m not particularly surprised he doesn’t show up in the limited casting that’s listed on the calendar. The work with the longest list, The Seasons, is one that I don’t think he danced at the Met this spring. I wouldn’t read anything more into his absence from the lists than that his opportunities for advancement have indeed largely passed.
  1. Load more activity
  • Create New...