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  2. There's also a brief shot of young Kevin Bacon's butt, for anyone interested. SPOILER: Why oh why did you let Mrs. Voorhees in, Alice? You’re supposed to be the SMART one !!!
  3. That's exactly the same sequence done in the DQ Adagio. Very tricky, given that the dancer has to quickly get into the ballerina's space while she's doing a double pirouette a la seconde to get her into a deep penchee. I have always thought "what if the guy's timing is not the sharpest and he hits her on pirouette"...Well, I finally saw it, and HEARD it-( the hitting was loud).😶
  4. Today
  5. Except for the scene where Xander stood too close to Batoeva to support her in a spin or turn and her leg smacked right into him and caused her to stop mid-spin. Mr. Abatt turned to me and noted that we've been attending ballet for about 25 years and have never seen that error. It was egregious. All in all, however, it was a wonderful weekend of ballet from the Mariinsky.
  6. He was good as Espada -- but that's an aloof matador, so the stiffness worked! I suppose it's a bad sign that I can't remember him in anything else other than R&J, where he has the same issues.
  7. Interesting. Basilio is a lot of acting. Sounds like that's not his strength. How is he in pieces that aren't so focused on plot?
  8. The costumes are definitely the ones you see in the 1983 DVD with Cynthia Harvey, but this is a simpler set -- the back bridge is gone and now there's just a painted drop. I haven't seen the ABT version in recent years, so I don't know if that's what ABT uses now. In the 1978 premiere, Gelsey wore a purple dress in the first act and now everybody stays with red. Not sure when that changed. Tracy is recovering from an injury, so perhaps there wasn't time to prepare. She seems to be too tall to partner with her husband. I'm not sure who would make a good partner for her. I assumed Buchanan and Pelletier were being groomed for principal leadership. She seems worth the investment, but you saw my comments on Pelletier -- just wooden, blank, unconvincing as Basilio. The ABT site lists two versions -- Baryshnikov and McKenzie/Jones https://www.abt.org/explore/learn/repertory-archive/ballets/ So much of the choreography is "public domain" or standard, it's hard to differentiate.
  9. The advert does say, "Duration 1 hour 45 minutes with one intermission". But from the description and video, it feels more like a gala performance, with small cast (and that's why it needs to be short). Ballet performances without orchestra sometimes feel sad, and de-energized - more like a rehearsal than a public performance. It's really up to the dancers to make it work for the audience. There's a small regional company in San Diego, CA named "City Ballet" (I would describe them as semiprofessional given the meager stipend given to these dancers), and City Ballet performs publicly with a semiprofessional orchestra (consisting of classical musicians and students looking to be members of one of the big orchestras, naturally). They have a Chorus as well! Having an orchestra showing great enthusiasm for the material, playing along beside the excited young dancers has great charm, even for audience members who have been watching the big companies for years. With ballet, the orchestra really makes a difference in the presentation. But, paying for all those musicians is normally expensive, and I can well imagine the traveling Russian troupe simply doesn't have funds for such things. Only the Mariinsky and Bolshoi have state funds to pay for orchestra and dancers, and support staff.
  10. Hallberg is not partnering Osipova in Onegin at the RB this season ? Osipova is cast with Muntagirov in Onegin, with Hallberg in Manon, SB And SL.
  11. Thanks for such a thoughtful report! I was sorry to miss this one as I've always liked the look of ABT's sets and costumes. I didn't do my research; were they doing 1983 Baryshnikov version that I've come to associate those costumes with? (Or I guess now we're saying "staged by Kevin McKenzie.") Either way, CO Ballet does a pretty decent job with their social media, but it's especially nice to hear your honest thoughts. I've seen Morgan Buchanan in person maybe once. From a distance it was hard to see why she was cast over Tracy Jones, but it sounds like you're much more familiar with her dancing and enjoy it —which is great to hear. I was surprised to see Chandra Kuykendall cast as Queen of the Dryads. What was the pique arabesque thing? Like a diagonal? I have mixed feeling about changing choreography based on physical limitations. That said, I suppose modifying these Italian fouettes wouldn't irk me as much as subbing out the hops in Giselle... ouf. For the record I like her dancing just fine, I like that she's from the academy, cool that she's a mom etc., but I'll be curious to hear how the rest of the season goes for her. Asuka Saski and Francisco Estevez: Awesome. I saw the one-armed lift + arabesque online and it was fantastic — I can only imagine how fun it would have been to be in the audience. Fouettes: Yes. 32 clean singles would be a dream. Sigh.
  12. FYI: as first poster (and thread creator) you have the ability to edit your first post, and that includes the title. Editing any of your other posts in the thread will not allow you access to the thread title.
  13. One thing I noticed was that the Mariinsky omits the final number -("Finale")- that the POB uses after the final tableaux of the grand pas, which is like a grand ballabile in a "jota aragonesa" form. @ 1:36:02
  14. I saw all three casts the first weekend, but had to miss the second weekend due to a professional conference. They rented the ABT sets and costumes, so it was a first-rate production. It's such a treat for dancers to see the names written in their costumes -- Cornejo, even Baryshnikov. A sense of heritage that they must treasure. Live orchestra for all performances, which is so appreciated. Asuka Sasaki and Francisco Estevez: opening night. They both sparkled. This was Asuka's role and I've never seen her better. Technique, acting, character were all just superb. Fran was just promoted to principal and has recovered from two forms of cancer, as has been publicized in various places on-line. Great pair. Last winter for Nutcracker, they nailed a wonderful torch lift. For this one, they did some nice technique variations. On the one-armed lift in Act I, Fran did have to steady her lower leg, but then held the lift for a long time and even went into an arabesque of his own. He's only 30 and has notably improved his technique in recent years, I expect great things from both. Yosvani Ramos and Dana Benton: He just turned 40 and is recovering from knee surgery in the past year, so his performance was all the more amazing. He just posted on Instagram, though, that he is retiring the role. She is recovering from shoulder surgery. Very comfortable, confident partnership despite all that. Morgan Buchanan and Nicholas Pelletier: third cast for the Saturday matinee and school performances. She's a soloist with great potential. He is a corps member and was better as Espada; I wish he'd work on expressiveness and pushing the envelope on his presence. They were third cast a couple of years ago in Romeo and Juliet. She's developing nicely. I wish he would push himself more so he's not just doing steps. Several soloists and advanced corps members got some nice opportunities. So many to note, but a few of my favorites: Tracy Jones: Fran's wife, trained at the Royal Ballet, she was a spectacular Mercedes. Charisma, presence, glorious. Fernanda Oliveira: a corps member with charisma, determination, grit. She was terrific both as Mercedes at one performance and Queen of the Dryads at another. She knocked out all the Italian fouettes - a little shaky, but they'll get better and I'm glad to see her try. Kevin Gael Thomas: King of the Revoltade 540, he got to throw that in the gypsy sequence. I see rehearsal clips on Facebook where several of the men are working on this. Some might remember Chandra Kuykendall, who celebrated her 20th anniversary with the company last year. I thought she'd retire, but nothing has been announced. She did Queen of the Dryads and that's all. I wasn't surprised that she didn't even try the Italian fouettes, substituting a much simple pique arabesque thing. A few years ago in Giselle, she didn't even try the hops on pointe and substituted an easier pique-step thing. Fouettes: I do wish everybody would just aim for 32 clean singles. Asuka did a few doubles at the beginning and travelled quite a bit, as did Dana.
  15. Tragedy doesn't mean "sad" in any conventional sense--tragic emotion is more complex. The Oresteia resolves itself in favor of Orestes, the founding of a jury system, reconciliation between different gods/values etc. and it's one of the foundational "tragic" trilogies of the Greek tradition. One can judge the ending of Swan Lake with the double suicide, Rothbart defeated, and the lovers united in the land of the dead to be "tragic" without thinking it's simply sad or unhappy. I think it's also not exactly "happy" in any earthly, ordinary sense--certainly evil isn't banished by laughter (or the "happily ever after" of procreative sex) as in classic comedy but by sacrifice and forgiveness. It's something more profound than earthly happiness, at least for the lovers.
  16. Presale tickets became available today. Open to everyone tickets go on sale Friday. I posted information here. https://balletalert.invisionzone.com/topic/45095-bolshoi-ballet-swan-lake-chicago-june-10-14-2020/?tab=comments#comment-419533
  17. Presale tickets became available today. I don’t remember how to get access to this offer, but I got a message today on the internet and did get tickets. The closet seats are in the Back Orchestra starting around the 14th row. In this section there were a lot of seats available. I didn’t check other sections. Open to everyone tickets go on sale Friday. This might make some seats available in the Front Orchestra, I was told by the theater. Prices may go up as well. They didn’t know when casting would be announced. It will be at the Auditorium Theater. Here is some contact information. 312.341.2300, or by email at info@auditoriumtheatre.org The Congress Hotel is across street. I stayed there maybe fifteen years ago and thought that it was fine. The man at the ticket office said that he thought it would be fine also. If you do want to stay there don’t get a room in the back of the hotel which faces the elevated train nearby and would be very noisy. The man also said that there’s a Hilton nearby that is recommended. Added: This link posted previously by Mussel might get you presale access. https://tickets.auditoriumtheatre.org/production/2402/19-20-bolshoi-ballet/ Also see: https://balletalert.invisionzone.com/topic/44624-bolshoi-swan-lake-chicago-jun-2019/
  18. dirac

    Saturday, October 12

    St. Petersburg Ballet Theatre presents "Swan Lake" in Dublin.
  19. dirac

    Saturday, October 12

    A review of the Mariinsky Ballet in "Paquita" by George Jackson for danceviewtimes.
  20. dirac

    Friday, October 11

    A preview of the Mariinsky Ballet's Southern California engagement by Laura Bleiberg in The Los Angeles Times.
  21. dirac

    Saturday, October 12

    A review of Kansas City Ballet by Hilary Stroh for Bachtrack.
  22. dirac

    Friday, October 11

    A television interview with Julie Kent.
  23. dirac

    Saturday, October 12

    An interview with Mark Morris.
  24. dirac

    Monday, October 14

    Ballet San Antonio opens its season with "Alice in Wonderland."
  25. dirac

    Saturday, October 12

    The 10 Richest Ballet Dancers:
  26. dirac

    Wednesday, October 9

    Oregon Ballet Theatre presents a mixed bill.
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