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  2. I love the Kirov Sleeping Beauty. That has not kept me from enjoying efforts at reconstruction of the nineteenth-century choreography and production which, whatever its official critical reception, seems to have inspired people and artists who saw it enough to impact their later work including their work for the Ballets Russes. But I DO love the Kirov Sleeping Beauty and have expressed that love many times over the years. re Swan Lake. It is always wonderful to learn new things —I had been aware that the fourth act as I know it in several Western and, indeed, Russian productions has had much of its music re-arranged as was the case already in Petipa-Ivanov’s production worked on by Drigo as well. But of course I do not have the kind of detailed historical knowledge you bring to the discussion. Still, I am not sure we are talking about the same music. I had NOT been aware that the shift of the ballet’s main theme into a ‘major’ key and final apotheosis music and chords were not part of the original score and those are the passages I was thinking of when I wrote my comments about finding the loss of the ending music unbearable. But if you could show me that a computer program had generated the passages I love, I guess I would be forced to say ‘well done, artificial intelligence,’ (that’s a joke). But I never thought Grigorovich committed a crime against “the sacrosanct INTEGRITY of the work” —a category that I have found hard to apply to nineteenth-century ballets that often went through multiple productions and were reworked in multiple ways even by their original creators let alone by those who followed them. As indeed Grigorovich has reworked his Swan Lake production this century. I have said on another thread (that you perhaps are remembering?) that I find cutting those measures just mentioned—the final change of key and apotheosis—a crime against music. But I take it as a fair reproach that that is melodramatic language. They may not be the majority on English speaking message boards, but I have always found fans here and on other message boards who admire Grigorovich’s production of Swan Lake and I acknowledged that directly in my post above on this thread. The older I get the more I am aware of the vast range of responses even the most important choreographers and productions generate. I suppose message boards would be unnecessary otherwise, but even among dance historians and stagers, I find a wide range of judgments on these matters. As for Grigorovich’s stagings of older ballets generally....without thinking they are perfect productions I would have been thrilled to see his Raymonda or his Bayadere in London as I admire them quite a bit. I don’t feel the same way about his Swan Lake. I am also confident his oeuvre is resilient enough to withstand a range of responses—indeed has done so. It WILL be interesting to see if Vaziev decides to change any of the Grigorovich nineteenth-century productions at the Bolshoi, but personally I would be surprised if he did so anytime soon.
  3. It was announced in Denmark this morning as part of the Royal Danish Theatre's plans for next season, but I also saw it here earlier in the week.
  4. Today
  5. Jane Simpson-Where was this announced?
  6. There are plenty of works that were dismissed at their premiere and are considered masterworks now, regardless of how well-respected and eminent the original critics were.
  7. Watch company class from Ballet de l'Opéra de Paris on World Dance Day, April 29, on their facebook page, starting at 12.25 pm in Europe, 11.25 in the UK, 6.25 am Eastern Time
  8. Would you find it more "bearable" if you learned that the music wasn't composed for the Swan Lake and that Tchaïkowsky may have never given permission to use it? At this (and the British) ballet forum it became a matter of good taste to publically express one's disdain for Grigorovich's staging of Swan Lake as if he committed a serious crime against the sacrosanct integrity of the work. Could it be that this attitude is based on incomplete knowledge of the history of Swan Lake? This parallels the situation with the attitude towards the original, "glorious", Petipa choreography for the Sleeping Beauty versus the "corrupt", Kirov, version. One is accorded uncritical adulation while the other is scornfully rejected. The irony is that the original Sleeping Beauty was remembered and praised for the music, for the costumes, for the decorations, not for the choreography. In fact, it was noted by a number of critics present at the première that choreography was scant and derivative. In a long, detailed report of over 2000 words, from a special correspondent of The New York Herald, who was present at the première in Petersbourg, Marius Petipa's name is not even mentioned once, the work is pronounced to be primarily the triumph of the composer, the costume designer and the author of the scenery.
  9. Also SFB is taking Romeo and Juliet to the Opera House in Copenhagen for 4 performances Oct 30/31 and Nov 1/2 2019. Nice hometown opportunity for Birkkjaer perhaps?
  10. Next season's repertoire for the RDB was announced this morning: Queen of Spades (Scarlett) Blixen (new full length by Gregory Dean) Nutcracker (Balanchine) Ballet de Luxe - Act 3 of Raymonda/Ballo della Regina-/August 2.0 ("a respectful nod to August Bournonville, bringing the master's choreography into the 21st century" - arranged by Dinna Bjørn and Nikolaj Hubbe) Mahler's 3rd Symphony (Neumeier) Come fly away (Twyla Tharp) A Folk Tale (Bournonville) ... plus a number of smaller scale works and collaborations Full programme
  11. Bolle and Nunez are dancing in Onegin on July 31, Aug. 1 evening, and Aug 2, according to the subscription package received in my mail. Pretty exciting.
  12. Thanks, YID. All I would want to say in response for the moment is that Maria Khoreva’s Diamonds duet was one of the most beautiful of all duets that I’ve ever seen. This is the part of ballet, and dance in general, that I prize the most. Let me move over briefly to the young Maria Iliushkina. She just danced the Act II Giselle duets at a Gala. Although they had some elements of a beginning effort, in essence, I consider them to be as beautiful as Maria Khoreva and Oxana Skorik’s Diamonds duet. In other words, I consider them among the best. In terms of pure dance beauty, equating someone to Oxana Skorik is as much of a compliment as I can offer. She has an articulation of detail that separates her from others. Maria Khoreva and Maria Iliushkina have a more uniform flow. Is one better than the other? I would say that Oxana Skorik’s fine detail is the result of much thinking and practice, i.e. maturity, so it can be valued for that. They all have a similar basic beauty of motion. So maybe take your choice, more developed refinement of detail, or (at this stage anyway) an overall flow and a seemingly more youthful naturalness (“seemingly” because I’m sure that much thought and practice have also gone into this.) In addition, Maria Iliushkina and Maria Khoreva have a warm and embraceable loveliness.
  13. I have faith in Tanowitz considering some of the other work she's done. Just will be interesting as the piece is rather long and dense. As for Peck we'll see. It can't be worse than Principia.
  14. And much more "danceable" than Episodes or Movements for Piano and Orchestra. Fascinating to hear the music in advance. Thanks for posting canbelto!
  15. "Agnostic" is a great word to express your opinion on this story, and I agree completely. Thanks also for the emphasis that they are men and not boys.
  16. The arbitrator stated that whatever was presented or argued by the NYCB wasn't a fireable offense based on the contract, but that is not an exoneration: the arbitrator also ruled that the Company was well within its rights to suspend Ramasar and Catazaro, which makes their offenses neither purely personal nor private.
  17. Yesterday
  18. I’m not really a Bartok fan, but the music seems a lot more interesting than the Dancigers.
  19. I remain agnostic as to the extent to which Ramasar and Catazaro participated in the most egregious of Finlay's group chats. (The details provided on page 12 of the complaint suggest that Ramasar did actively seek out explicit photos: "52. On May 21, 2018, another NEW YORK CITY BALLET, INC. principal, Amar Ramasar texted Mr. Finlay, "I love you! Text me those, photos/videos!!") Since I don't have to work with either man—and they are men, not boys—it's not for me to say whether or not his colleagues can or should "move on." That's for them to decide.
  20. If you go back and re-read the complaint against Ramasar you will not find any evidence that he participated in these said group conversations. Many people have come to the same conclusion based on how the media lumped the three boys and donor together. There is nothing in the lawsuit that accuses Ramasar of making comments about "farm animals", "sluts", religion, race, gender or anything like about his colleagues. He is only quoted in text conversations solely between him and Finlay. Ramasar also clarifies on his second Instagram post (below) after being terminated that he was not part of any group messages. He expresses having photos of one, consenting adult (assuming this is his girlfriend based on apology in the post), and that he does take responsibility for his part. Again, if that adult has forgiven and consented in their private life, then I view that as being the most important part in his moving on. Being in a ballet company is not a popularity contest, and humanity comes with mistakes... nobody is perfect. This does not indicate that I condone the alleged behavior in any way, but it is time to move on.
  21. Tanowitz;s ballet is set to Bartok String Quartet #5. I'll be really interested to see how she turns this into dance as on the surface I don't hear much danceable music here:
  22. I had the opportunity to interview Ms. Gutierrez on the heels of her announcement to retire from Alberta Ballet.
  23. https://www.sciencedaily.com/releases/2005/05/050525105357.htm Some would argue otherwise. I believe that the struggle to overcome these base tendencies is part of what makes someone a worthy human being.
  24. That's why I'm interested to see if they dance together again.
  25. I was going to weigh in similarly, nysusan, but you saved me the trouble, as I agree with everything you wrote, down to the final exclamation points.
  26. My impression from Waterbury's complaint is that both Ramasar and Catazaro participated in group chats with Finlay in which explicit photographs of their female colleagues and peers were exchanged. Since the texts in the aggregate have not been made public, we have no way of knowing the extent to which either man was a participant in the denigration of their peers and colleagues, and my original post did not in fact accuse them specifically. Rather, my point was that the activity couldn't be dismissed because "it had nothing to do with work." When one suggests that one's colleagues and peers should be tied up and abused like farm animals—whether it's because of their gender, their race, their religion, their sexual orientation—it has everything to do with work no matter when and where it takes place.
  27. The original male dancer in the Western Symphony Scherzo was Andre Eglevsky: http://www.balanchine.org/balanchine/display_result.jsp?num=303 In all of the film I've seen of him, he had an old-fashioned male technique compared to the other men in the Company at the time -- ankle height passes in pirouettes, for example -- even in 1954, but maybe that contrast is what Balanchine wanted.
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