Jump to content
This Site Uses Cookies. If You Want to Disable Cookies, Please See Your Browser Documentation. ×


Senior Member
  • Content Count

  • Joined

  • Last visited

About Ari

  • Rank
    Gold Circle

Registration Profile Information

  • City**
    Arlington, VA
  1. I saw Friday night's performance, and it was interesting to see ABT's "take" on a ballet I saw danced by its original company, the Royal, last November. On the whole I thought ABT did extremely well -- better, in some respects, than the Royal. (For instance, Carmen Corella managed to make Diana forceful without seeming shrewish, which neither RB Diana had, and Gillian Murphy's technique and reading of the scene in Orion's cave were much better than either Darcey Bussell's or Marianela Nunez's.) On the other hand, I preferred both RB Eroses (Martin Harvey and Joshua Tuifua) to Herman Cornejo
  2. This is the photo Oberon referred to: http://www.nytimes.com/2005/06/07/arts/dance/07boal.html
  3. Just a reminder . . . clicking on the Amazon link in the upper right-hand corner of this page will give Ballettalk a portion of the profits of any Amazon purchase.
  4. The British critic Norman Lebrecht is always interesting, even when he's off base. In today's Scotsman, he argues that the Broadway musical, which by general agreement has been dead for some time, is undergoing a rebirth. It's a matter of debate as to whether embracing a tone of ironic detachment is enough to ensure new life to the musical as a form. But Lebrecht doesn't stop there. He goes on to argue that the seeds of this happy development can be found, in its earliest form, in Guys and Dolls, which opened in 1950. Now, I love Guys and Dolls as much as Lebrecht, but when he writes th
  5. The National Critics Conference, which prompted the article in the LA Times that kfw cited above, is over. And it's stimulated more discussion of the role of critics in today's society: Christopher Reynolds in the LA Times Dominic P. Papatola in the St. Paul Pioneer Press Chris Jones in the Chicago Tribune
  6. That moment is part of the ballet, Stanley. It's in the choreography.
  7. A couple of people have said that Bouder is too small for Emeralds, but the role she is dancing was made on Violette Verdy, who was quite small -- probably smaller than Bouder. I wonder if those who found Bouder too short would explain why they thought a taller dancer was called for.
  8. Contents: Marc Haegeman, A Conversation with Alexei Ratmansky, AD of the Bolshoi Ballet Leigh Witchel, Notes on Merrill Ashley Coaching Ballo della Regina Carol Pardo, The NYCB's Winter Season Mary Cargill, Golden Mean: The Paul Taylor Dance Company at Fifty Mary Cargill, An Interview with Francisco Graciano & A Look at the Taylor 2 Company Gay Morris, New York Report: The Martha Grahm Dance Co. and Matthew Bourne's A Play Without Words Jane Simpson, London Report: Richard Alston, Henri Oguike & the Royal Ballet Rita Felciano, Bay Area Report: San Francisco Ballet, Chitresh
  9. Interesting topic, Marga. Thanks for starting it. I think there's little doubt that most Russian dancers and teachers consider their tradition to be not only superior to all others, but the Only True Classical Style. But they're not the only ones who have felt this way about themselves. Back in the days when the Royal Ballet was the Royal Ballet, many of its supporters felt that the company was single-handedly preserving the pure classical style. I don't believe the Danes ever felt this way -- those who are more familiar with them, please correct me if I'm wrong -- and I don't know about
  10. Injuries are, sadly, an ever-present reality in a dancer's life. It's rare for a dancer to be 100% healthy. I've heard dancers say that if they wake up in the morning feeling completely well, something's wrong! I think it's interesting for us as audience members to understand more about this. Those who know, please chime in. Is there, as fandeballet asked, a particular kind of injury that is the worst of all, or does it depend on the dancer? Regarding weight lifting, I remember reading in Peter Martins's autobiography that he embarked on a course of weight lifting as a very young corps m
  11. The viability of having an AD and a Principal Choreographer who works mainly for the company will be the extent to which the vision of these two people mesh. There will probably always be conflicts between them as to how many company resources can be devoted to the PC -- choreographers, naturally, will want as much as they can get, and ADs have to think about the whole picture. But if they both have the same vision for the company, if their esthetic is harmonious, then there's hope. The relationship between Ninette de Valois and Frederick Ashton is an example of a successful collaboration.
  12. Thanks for the explanation, Art. I guess it's another example of technology replacing humans. I suppose the argument could be made that since many if not most ballet companies now perform to taped music, this is not much worse, but the alarm bells sound when a company like ABT that has always used a live orchestra considers it. It's a relief to know that that's not in the cards, at least for three more years at the Met.
  13. It's never too late to tell us about a performance, Memo! The more views, the greater variety of opinions, the merrier. Thanks for the post, and please hang around here more often!
  14. Before anyone rushes out to buy these DVDs/videos, they should remember that they will probably not be playable on U.S. machines. Unless the DVD is specifically coded "All Regions," you will need a DVD player that can play Japanese DVDs. A multiregion DVD player with an NTSC/PAL adapter will be able to play a DVD coded for Japan. With videocassettes, the situation is even less flexible, so unless you have both a PAL VCR and TV (or get the tape professionally converted to NTSC), you're out of luck.
  15. I saw Hecuba on Saturday night at the Kennedy Center. Never having seen the play before, or even read it, I'm at something of a disadvantage in evaluating the strength of this production and Redgrave's performance. Still, you didn't have to be a scholar of Greek drama to notice the very pointed contemporary emphasis of this production. Tony Harrison (who bills himself in the program as "Britain's leading theatre and film poet") has jazzed up Euripides not only with questionable vernacular (i.e., "croak" for "die") but with repeated references to the victorious "coalition" forces. In case w
  • Create New...